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The  Fifth  exhibition 
f  the  Qarteret  ^ook  Qlub  of  J^^(ewark^ 


CATALOGUE 

^N  EXHIBITION  OF  THE  EVOLUTION 

OF  THE  ART  OF  THE  BOOK,  AND 

IN  PRAISE  OF  PRINTING 


HELD  AT  THE  FREE  PUBLIC 
LIBRARY  OF  THE  CITY  OF 
NEWARK,  NEW  JERSEY, 
FROM  MONDAY,  APRIL  THE 
TWELFTH  TO  SATURDAY, 
MAY  THE  FIRST,  NINETEEN 
HUNDRED  AND  TWENTY 


Newark,  New  Jersey 
1920 


CARTERET  BOOK  CLUB  OF  NEWARK 

OFFICERS 
February  28,  1920 

President,  Hiomas  L.  Raymond 

Secretary,  John  Cotton  Dana 

Treasurer,  Arthur  F.  Egner 

BOARD  OF  DIRECTORS 

Thomas  L.  Raymond  Joseph  F.  Folsom 

John  Cotton  Dana  James  S.  Higbie 

Abraham  Rothschild  Francis  J.  Swayze 

Richard  C.  Jenkinson 

COMMITTEES 

Membership  Publication 

Andrew  Van  Blarcom  John  Cotton  Dana 

Frederick  Keer  ,,    .  Thomas  L.  Raymond 

John  H.  Ely      '.' '.'  .  V  :  jQsfe.ph  F.  Folsom 

•***»  I  >'  I  Midittng  . .  •  /-\  .  / 
Julius  S.  Rippel 
W.  A.  Smith 


EXHIBITION  IN  PRAISE  OF  PRINTING 


PREFACE  ;,  >  .      , 

Printing  is  the  Art  which  has  a  more  decisive  influ- 
ence on  the  lives  of  intelligent  persons  than  any  other. 
Printing  is  labor-saving  writing.  Civilization  began 
with  the  invention  of  writing.  Writing  was  invented 
in  various  pre-historic  periods  by  various  races  of 
mankind.  Wherever  the  invention  of  writing  gave 
employment  to  many  persons,  whose  work  it  was  to 
record  the  facts  of  history  and  the  scien(;es  and  philos- 
ophy and  poetry,  that  civilization  was  one  of  progress. 
Persons  so  employed,  many  hundreds  of  centuries  be- 
fore our  era,  were  the  predecessors  of  the  printers  of 
our  time. 

Printing  is,  therefore,  a  modern  labor-saving  devel- 
opment of  a  very  ancient  art  and  craft.  Appropriately, 
therefore,  this  exhibition  opens  with  examples  of  im- 
pressing or  incising  words  in  clay  by  means  of  an 
engraved  stamp  or  an  engraving  tool.  One  of  these 
examples  was  made  by  the  predecessors  of  the  printers 
of  Newark  in  B.  C.  4200. 

The  pre-eminent  influence  of  Printing  to  everyone 
of  us  is  set  forth  at  the  end  of  this  catalogue  under  the 
heading,  "Influence  of  the  Printing  Art."  In  fact,  this 
exhibition  has  been  prepared  chiefly  for  the  purpose  of 
visually  acquainting  the  people  of  Newark  and  its 
vicinity  with  the  impressive  and  interesting  facts  set 
forth  in  that  article. 

The  exhibits,  except  when  otherwise  stated  in  this 
catalogue,  have  been  loaned  to  the  Carteret  Book  Club 
of  Newark  by  Robert  Wickham  Nelson,  Esq.,  of  West- 
field,  New  Jersey,  president  of  the  American  Type 
Founders  Company,  whose  principal  offices  are  in  Jer- 
sey City.  The  exhibits  are  a  part  of  the  Typographic 
Library  and  Museum  of  the  American  Type  Founders 

1 


M  5248 


Company  in  Jersey  City,  the  most  extensive  collection 
of  its  kind  iA  existence. 

The  Carterf^t  Book  Club  also  acknowledges  its  in- 
debtedness to  John  Cotton  Dana,  Esq.,  and  his  able 
'iand  enthnsiakic  •  staff ,  of  the  Free  Public  Library  of 
Newark,  for  invaluable  oversight  and  assistance.  The 
exhibits  are  arranged  in  a  masterly  way,  bringing  out 
all  their  beauty. 

The  busts,  statuettes  and  portraits  are  of  printers 
who  have  distinguished  themselves.  Those  shown  here 
are  a  small  part  of  similar  art  objects  done  at  various 
periods  in  honor  of  printers  and  printing. 

For  printers  specially  there  are  items  grouped  as  a 
part  in  the  catalogue,  but  scattered  throughout  the 
room,  which  are  of  curious  and  sentimental  interest  to 
them. 

The  chief  educational  feature  of  this  exhibition  is 
that  part  showing  the  Evolution  of  the  Art  of  the 
Book.  It  commences  with  Case  No.  1.  On  each  case 
a  summary  of  contents  is  placed.  By  studying  the 
cases  consecutively  a  panoramic  view  may  be  had  of 
the  methods  employed  in  the  making  of  books  and 
records  from  the  earliest  times  to  this  very  year.  Time 
devoted  to  these  cases,  with  a  very  little  patience,  will 
enable  visitors  to  take  away  with  them  a  comprehensive 
outline  of  the  history  from  age  to  age  of  the  wonderful 
and  beautiful  art  of  writing  and  its  latest  and  greatest 
development,  which  we  call  Printing. 

The  members  of  the  Committee  on  Exhibitions  are 
Messrs.  Chester  R.  Hoag,  Wilbur  Macey  Stone  and 
Henry  Lewis  Bullen.  The  catalogue  was  prepared  by 
Mr.  Bullen. 


THE  CATALOGUE 

I.  Hand   Presses page  3 

II.  Busts  and  Statuettes page  3 

III.  Collection  of  Recent  Fine  Commercial  Printing  page  4 

IV.  Evolution  of  the  Art  of  the  Book page  4 

V.  Portraits  of  Printers  and  other  Prints  relating 

to  Printing page  20 

VI.    Exhibits  of  Special  Interest  to  Printers page  34 

VII.    The  Influence  of  Printing,  a  brief  essay  spe- 
cially requested  to  be  read page  37 

I.— HAND  PRESSES 
Wooden  Hand  Press,  built  in  Holland  in  1742. 

First  used  in  Middelburg,  Holland,  by  Anthony  de  Winter,  whose  son 
sold  it  in  1780  to  Johannes  Abrahams  of  Middelburg.  This  press  remained 
in  possession  of  the  Abrahams  family  until  1912,  when  it  was  sold  to  the 
American  Type  Founders  Company,  together  with  the  bill  of  sale  of  the 
press  when  it  was  sold  in  1780,  To  print  a  full  form  two  impressions  were 
required.    Note  that  the  platen  is  half  the  size  of  the  bed. 

All  typographic  printing  was  done  on  presses  of  this  construction  from 
1450  to  1803,  when  the  first  all-iron  press,  the  Stanhope,  was  introduced. 
On  presses  such  as  this  books  of  unexcelled  beauty  were  produced,  proving 
that  the  art  in  printing  depends  upon  the  man  and  not  upon  the  machine. 

Washington  Hand  Press,  made  in  New  York  by  R. 
Hoe  &  Co. 

The  principle  of  this  press,  the  powerful  toggle  lever,  was  first  applied 
to  printing  presses  in  1819  in  Hartford,  Conn.,  by  John  I.  Wells.  Previous 
to  this  invention  impressions  were  obtained  more  slowly  and  less  powerfully 
by  torsion  screws,  as  in  the  wooden  hand  press.  This  invention  was  the 
first  in  the  printing  field  that  in  a  short  time  gave  America  the  leadership 
in  inventions  relating  to  printing,  which  we  have  retained. 

II.— BUSTS  AND  STATUETTES 
Bust  of  B.  Franklin,  by  John  Boyle,  1911. 

This  is  made  from  the  model  used  by  Boyle  in  designing  the  Franklin 
monuments  in  Philadelphia  and  Passy,  France. 

Statuette  of  Laurens  Janszoon  Coster. 

To  Coster  is  now  given  the  honor  of  having  printed  books  (probably 
from  engraved  types  and  engraved  blocks)  earlier  than  those  printed  by 
Gutenberg,  who  used  cast  types  and  a  press,  and  was  the  actual  inventor 
of  typography  as  now  practised. 

Bust  of  Theodore  Low  De  Vinne,  printer,  of  New  York, 
by  Chester  Beach,  1910. 

Entering  New  York  City  as  an   apprentice,   De  Vinne  advanced  himself 

3 


steadily,  but  not  rapidly,  until  he  received  world-wide  recognition  as  the 
most  advanced  master  printer  of  his  period,  which  preceded  the  time  of 
William  Morris.  He  wrote  several  authoritative  books  relating  to  art  and 
history  of  printing.  In  business  he  was  much  more  than  ordinarily  suc- 
cessful. 

Statuette:  l^he  Youthful  Franklin,  by  R.  Tait  McKen- 
zie,  1914. 

Young  Franklin  is  here  seen  (a  runaway  apprentice,  age  17)  crossing 
New  Jersey  on  foot  in  1723  from  Perth  Amboy  to  Burlington,  on  his  way 
not  only  to  Philadelphia  but  to  fame  and  fortune.  Perhaps  it  is  not  too 
much  to  say  that  if  Franklin  had  been  apprenticed  to  any  other  occupation 
than  that  of  printing  he  would  have  lived  in  obscurity.  He  found  his  univer- 
sity in  the  printing  office  and  in  the  art  to  which  he  applied  himself  intel- 
lectually, while  not  neglecting  its  mechanical  side. 

III.— SMALL   COLLECTION   OF   RECENT   FINE 
COMMERCIAL  PRINTING 

On  the  wall  at  north  end  of  hall. 

Printing  of  Smaller  Works  of  the  following  eminent 
living  American  printers: 

Thomas  M.  Cleland,  New  York.  Hal  Marchbanks,  New  York. 

Everett  R.  Currier,  Chicago.  John    Henry   Nash,   San    Francisco. 

De  Vinne  Press,  New  York.  Bartlett  &  Orr,  New  York. 

W.  A.  Dwiggins,  Boston.  Bruce  Rogers,  Cambridge,  Mass. 

Frederic  Goudy,  New  York.  W.  E.  Rudge,  New  York. 

Edwin  Grabhorn,  San  Francisco.  Axel   Edward  Sahlin,   East  Aurora, 

Wm.  A.   Kittridge  (Franklin   Print-  New  York. 

ing    Company,    Philadelphia,    es-  Taylor  &  Taylor,  San   Francisco. 

tablished  by  B.  Franklin,  1728. 

These  examples  are  representative  of  the  works  of  an  increasing  group  of 
American  masters  m  the  typographic  art.  Lack  of  space,  and  no  other 
reason,  has  excluded  examples  of  the  works  of  other  notable  printers  of  the 
group  which  is  making  American  printing  pre-eminent. 


IV.— EVOLUTION  OF  ART  OF  THE   BOOK 
Case  No.  1 

THE  EARLIEST  SURVIVING  FORM  OF  BOOKS 
A.  Babylonian  Impressed  and  Incised  Writings  on  Clay. 

1.  The  earliest  printing:  inscription  engraved  on  a  block  and  imprinted 
in  a  clay  brick.     B.  C.  4200. 

2.  A  tabulated  record  of  accounts.     B.  C.  3750. 

3.  A    legal    document,    on    which    a    notary    public    has    imprinted    his 
engraved  seal.     B.  C.  2350. 

4  and  5.  Receipts  for  the  delivery  of  property.     B.  C.  2250. 

The  earliest  records  of  civilizations  are  found  incised  on  clay  tablets 
of   varied   shapes   in   that   country   now   called   Mesopotamia.      Here  in 


turn  in  the  course  of  ages  the  Akkadians,  Sumerians,  Assyrians,  Medes 
and  Persians  dominated.  Here  the  first  alphabet  was  invented,  as  shown 
in  our  exhibits.  For  important  records  clay  tablets  were  used,  but  for 
ordinary  books  these  races,  or  some  of  them,  used  palm  leaves  and 
(later)  papyrus.  The  records  on  these  last  two  substances,  being  fragile, 
have  disappeared,  while  the  records  on  clay  preserve  to  us  a  history 
which  antedates  by  several  centuries  the  nation  founded  by  Abraham. 

B.  Books  on  Palm  Leaves:  probably  a  much  Earlier 
Form  of  the  Book  than  the  Writings  on  Clay, 
though  none  now  surviving  have  the  same  antiquity, 
owing  to  the  fragility  of  the  palm  leaves. 

6.  Palm  Leaf  Book,  with  Carved  Wood  Covers,  bought  in  Calcutta  for 
fifty  cents;  of  recent  manufacture. 

7.  Buddhistic  Scriptures:  seventeen  volumes  of  the  Tripitaka,  in  origi- 
nal teakwood  box  (the  top  removed):  circa  1750.  Protecting  cloth 
of  Hindu  manufacture. 

Case  No.  2 

THE  ERA  OF  THE  BOOKS  ON  PAPYRUS 

The  entire  extensive  literatures  of  pagan  Egypt,  Greece  and  Roman  were 
issued  and  circulated  on  papyrus,  parchment  not  coming  into  use  until  the 
approach  of  the  Christian  era. 

8.  A  Papyrus  Plant  from  the  Botanical  Gardens, 
Cairo;  a  small  plant. 

9.  Writing  on  Papyrus  (loaned  by  the  Metropolitan 
Museum  of  Art). 

10.  Reproduction  of  the  Egyptian  Book  of  the  Dead 
(literally,  The  Going  Forth  from  the  Day),  taken 
from  the  Turin  and  Louvre  papyrii,  the  oldest 
complete  books  in  existence,  with  translation  by 
Charles  S.  H.  Davis,  New  York,  1894. 

The  Papyrus  was  the  base  of  the  Egyptian,  Grecian  and  Roman 
civilizations,  which  we  have  inherited  through  printing.  Parchment 
and  vellum  did  not  come  into  use  until  long  after  the  Greco-Roman 
civilization  had  reached  its  highest  achievements. 

Case  No.  3 

FIRST  PRACTICABLE  METHOD  OF  PRINTING 

Block  printing,  invented  in  China,  and  first  made  practicable  by  China's 
prior  invention  of  paper,  was  in  use  in  China  and  adjacent  countries  for 
more  than  a  thousand  years  before  paper  was  first  brought  into  Europe. 

11.  Block  for  printing  two  pages  of  Japanese  book. 

5 


12.  Japanese  Print,  showing  printers  at  work  on  a 
four-color  picture. 

13.  Engraving  the  Wood  Block. 

14.  Complete  Japanese  Print  Works  of  the  Olden 
Time;  not  yet  wholly  discarded. 

1 5.  Laying  the  Paper  on  the  Block,  after  inking  with 
brushes. 

16.  Rubbing  the  Impression  with  the  Baren. 

17.  Barens,  used  for  taking  the  impression. 

18.  Collection  of  Gravers,  Chisels  and  Brushes  used 
in  Japanese  block  printing. 

1*9.  Wood  Block  for  printing  Four  Pages  of  Japanese 
Juvenile  Book. 

Case  No.  4 

BLOCK  PRINTING,  INVENTED  IN  CHINA  AND 
BROUGHT  TO  PERFECTION  IN  JAPAN 

20.  First  and  Last  Color  Blocks  of  a  12-color  Jap- 
anese Print.  The  subject:  Three  Women  Engrav- 
ing Wood  Blocks. 

a.  The  Key  Block. 
h.  The  Tint  Block. 
c.  The  Completed  Print. 

21.  Chinese  Block  Book  of  XVIII  Century.  Subject: 
Text  Book  of  Writing. 

22.  Japanese  Book  of  1605;  first  Japanese  book 
printed  with  movable  characters;  impression 
taken  by  rubbing. 

23.  First  Japanese  Newspaper,  1865;  printed  from 
engraved  wood  blocks. 

Case  No.  5 

THE  FIRST  PRINTING  IN  EUROPE:  BLOCK  PRINTING 

The  first  printing  in  Europe  was  from  engraved  wood  blocks,  from  which 
the  impression  was  taken  by  rubbing,  in  the  manner  practised  by  the  Chinese 
for  at  least  a  thousand  years  earlier.  This  method  of  printing  came  into  use 
in  Europe  in  the  first  quarter  of  the  fifteenth  century  and  continued  for 
several   years   after   typography  was   invented.     The   European   block   books 


were  used  to  teach  illiterate,  poor  persons  by  means  of  pictures.  The  letter- 
ing was  usually  in  Latin,  a  language  unknown  to  the  average  artisan  or 
fanner  of  the  period  and  put  in  the  book  for  the  use  of  the  teachers. 

24.  Biblia  Pauperum:  Reproduction  from  an  edition 
issued  about  the  time  typography  was  invented. 
This  Bible  and  Ars  Moriendi  were  the  "best  sell- 
ers" of  the  brief  European  block-book  period. 

25.  Two  pages  (facsimile)  of  Ars  Moriendi  (The  Art 
of  Knowing  How  to  Die),  the  best  existing  exam- 
ple of  European  block  printing,  of  Rhenish  ori- 
gin; circa  1438. 

26.  Reproduction  of  a  Chinese  wood  engraving,  found 
in  a  book  printed  in  1331. 

Note  the  superiority  of  both  subject  and  drawing  to  the  European 
art  shown  m  this  case.  The  all-protecting  hand  saving  the  mortal 
hurled  into  the  abyss. 

27.  Earliest  extant  European  Wood  Engraving,  circa 
1420:  St.  Christopher  carrying  the  Christ-Child 
across  a  River. 

Note  again  the  superiority  of  the  Chinese  engraving  (item  26). 

Case  No.  6 

FINE  BOOKS  IN  EUROPE  BEFORE  THE  INVENTION 
OF  TYPOGRAPHY 

The  examples  in  this  case  are  not  of  the  finest.  A  better  idea  of  the 
height  to  which  the  arts  of  illuminating  and  bookmaking  had  attained  at  the 
time  typography  was  invented  may  be  gained  by  examining  item  103  in  the 
tall  case  at  north  end  of  the  room. 

In  the  year  typography  was  invented  there  were  a  few  thousands  of 
persons  engaged  in  making  books  in  the  north  of  Italy,  France  and  the 
Netherlands.  The  earlier  printers  belonged  to  the  guilds  of  persons  who 
made  books  on  vellum  with  pens  and  brushes.  They  knew  all  about  the  Art 
of  the  Book,  and  because  they  did  know  this  art,  the  earliest  typographic 
books  were  many  of  them  masterly  examples  of  book  making.  On  this  phase 
of  printing  read  Blade's  "Life  of  William  Caxton." 

28.  Book  made  with  Pens  and  Brushes  on  Vellum: 
Missale  Romanum  cum  Calendario;  early  XV 
Century. 

From  the  collection  of  J.  Ackerman  Coles,  Esq.,  recently  pre- 
sented to  the  Newark  Museum  Association. 

29.  Book  made  with  Pens  and  Brushes  on  Vellum: 


Phemium  in  Postillas  Hyemales;  author,  Jordoni 
de  Quadralenborg;  early  XV  Century. 

From  the  collection  of  J.  Ackerman  Coles,  Esq.,  recently  pre- 
sented to  the  Newark  Museum  Association. 

The  curious  knots  of  vellum  projecting  from  front  edges  indicate 
beginnings  of  chapters. 

30.  Book-Making  in  the  Middle  Ages:  Engraving 
from  Copperplate,  Frankfurt,  1650. 

31.  Signature  of  four  pages  of  Manuscript  Book  on 
Vellum;  early  XV  Century,  showing  fine  appre- 
ciation of  proportion  and  margins. 

32.  Rubricated  Page  of  Manuscript  Book  on  Vellum, 
circa  1450;  a  model  recommended  to  XX  Century 
printers. 

Case  No.  7 

TYPOGRAPHY    INVENTED    IN   THE    FIFTEENTH 
CENTURY 

In  the  beginning  those  who  adopted  the  tj'pographic  art  used  it  to  evade 
the  labor  of  lettering  the  text  with  pens.  The  illuminators  were  employed 
to  put  in  the  initials,  illustrations  and  decorative  details. 

33.  The  First  Typographic  Book:  The  Gutenberg 
Bible  (facsimile),  Mainz,  circa  1450;  published  in 
two  volumes;  printed  by  men  thoroughly  versed 
in  the  art  of  the  manuscript  books;  rubricated 
and  illuminated  by  hand;  the  text  set  with  cast 
metal  types. 

34.  "Liber  de  Laudibus  ac  Festis  Gloriosae  Virginis 
Matris  Marie,'*  printed  in  1468  in  Cologne  by 
Petrus  Damasceni;  text  in  types,  decorations  by 
a  hand  illuminator. 

35.  The  Coberger  Latin  Bible,  Nuremberg,  1480; 
combination  of  type  printing  with  hand  illumi- 
nation. 

The  colors  are  somewhat  impaired  by  immersion  in  water;  other- 
wise a  good  characteristic  fine  book  of  its  period.  The  broken  bind- 
ing shows  the  method  of  sewing  on  leather  thongs,  which  were  inter- 
laced in  the  wooden  sides  of  the  cover. 


36.  Early  Effort  of  a  Printer  to  Supplant  the  Illumi- 
nators: Page  (facsimile)  of  the  Missale  Mogun- 
tinum,  printed  by  Michael  Wenssler,  Basle,  1486. 

The  decorations  are  printed  in  black  from  engraved  wood  blocks; 
the  colors  are  painted  in. 

Case  No.  8 

PROGRESS  OF  TYPOGRAPHY  IN  THE  FIFTEENTH 
CENTURY 

37.  Book  printed  by  Peter  Schoeffer,  the  second 
printer:  Clement  V.,  Constitutiones,  Mainz,  1476; 
has  the  first  printer  mark  in  the  colophon. 

38.  First  Book  printed  in  Roman  Types :  Aelius 
Donatus,  Commentarius  in  Terentium,  Venice, 
1469,  printed  by  Wendelin  de  Spire. 

Blank  spaces  were  provided  for  writing  in  Greek  words,  the  types 
for  which  had  not  then  been  made.  Prior  to  1469  books  had  been 
printed  in  Gothic  types. 

39.  The  First  Great  Roman  Type  Design:  Eusebius, 
Praeparatio  Evangelica,  Venice,  1470,  printed  by 
Nicolas  Jenson,  with  his  unexcelled  Roman  char- 
acters. 

The  finest  twentieth  century  types  are  based  upon  or  copied  from 
this  great  letter  design:  Centaur,  Cloister  Old  Style  and  Kennerley. 
This  was  Jenson's  first  book. 

40.  Jenson's  last  Book:  Boniface  VIII,  Decretals, 
Book  VI.,  printed  in  Venice  in  1479  by  Nicolas 
Jenson,  in  the  beautiful  Gothic  letters,  first  used 
in  1475. 

Jenson  is  the  acknowledged  master  in  type  design.  This  book, 
though  impaired  by  reduction  of  the  front  margins,  is  a  masterpiece 
of  makeup,  no  two  pages  alike. 

Case  No.  9 

TYPOGRAPHY  FIRST  EMANCIPATED  FROM  THE 
ILLUMINATORS  BY  RATDOLT 

41.  The  Second  Book  with  Engraved  Borders  and 
Initials:  Appianus,  Historia  Romana,  printed  in 
Venice  in  1477  by  Erhard  Ratdolt. 

Ratdolt's  borders  and  initials,  of  which  we  have  here  typical 
examples   are  still  in  use.    They  have  rarely  been  surpassed. 

9 


42.  Earliest  known  Specimen  of  Printing  Types 
(reproduction) ;  a  broadside. 

This  specimen  was  issued  by  Ratdolt  in  1486.     All  his  types  are 
beautiful. 

43.  Example  of  Ratdolt's  Appreciation  of  Fine  Pro- 
portion in  iMargins:  Hyginus,  Poeticon  Astrono- 
micon,  printed  in  Venice  in  1482  by  Erhard  Rat- 
dolt. 

44.  Ratdolt's  Gothic  Types:  Mataratius,  printed  in 
Venice  in  1478  by  Erhard  Ratdolt. 

This  book  is  misdated  1468.    A  beautiful  page. 

45.  Stamped  Vellum  Binding  enclosing  an  uncut  copy 
of  St.  Augustine,  Civitate  Dei,  printed  in  1475  in 
Venice  by  Nicolas  Jenson  in  his  first  Gothic  types. 

A  marvelous  example  of  the  bookbinding  art. 

46.  Book  of  Hours  on  Vellum:  Officium  B.  M.  Vir- 
ginis,  printed  in  1503  in  Paris  by  Thielman 
Kerver. 

Note    the    fineness    of    the    engraving    and    the    clearness    of    the 
impression.    A  fine  piece  of  art  and  craft  work. 

Case  No.  10 

GENESIS  OF  THE  MODERN  BOOK 

The  greatest  printer  of  them  all  was  Aldus  Pius  Manutius  of  Venice 
(1450-1515).  His  great  aim  was  to  popularize  the  long-hidden  classical 
literatures  of  Greece  and  Rome.  To  this  end,  in  1503,  he  invented  small 
italic  types,  with  which  he  produced  pocket  editions  of  most  of  the  pagan 
authors.  He  thus  cultivated  a  new  world  of  readers,  to  whom  the  larger 
books  in  vogue  before  this  reform  were  inaccessible.  These  small  and  well- 
printed  books  had  the  greatest  effect  in  bringing  about  the  new  birth  of 
learning — the  beginning  of  modern  civilization.  The  work  of  Aldus  was 
carried  on  with  equal  ardor  by  his  son  'and  grandson.  Besides  these  small 
books,  two  of  which  are  shown  in  this  case,  Aldus  and  his  son,  Paul,  printed 
larger  works  of  superior  typographic  merit. 

49.  Sallust,  De  Conjuratione  Catilinae,  printed  in  the 
first  Italic  types  in  Venice  in  1509  by  Aldus;  his 
printer  mark  on  title  page. 

50.  Lactantius,  Divinae  Institutiones,  printed  in  1515 
by  Aldus  in  Venice. 

This  was  the  last  book  printed  by  Aldus. 

10 


55.  Book  by  Paul  Manutius,  son  of  Aldus:  Theo- 
dorius,  Episcopus,  Canticum  Canticorum,  printed 
in  1563  in  Rome  by  Paul  Manutius. 

Paul,  son  and  successor  of  Aldus,  carried  on  printing  establish- 
ments in  both  Venice  and  Rome. 

SUPREMACY  IN  THE  ART  OF  THE  BOOK  SHIFTS 
FROM  ITALY  TO  FRANCE 

51.  Dionis  Nicaei,  Rerum  Romanarum,  printed  in 
1561  in  Paris  by  Robert  Estienne  (Stephani), 
with  Greek  types  cut  by  Claude  Garamond  (the 
celebrated  "silver'  'types),  and  initials  and  bands 
designed  and  engraved  by  Geofroy  Tory. 

•  Here   we    have   the   combined   work   of   three   great    masters    of 

typography. 

52.  Valerius  Maximus,  Factorum  ac  Dictorum  Me- 
morabiliam,  printed  in  1544  in  Paris  by  Robert 
Estienne. 

53.  Dion  Cassius,  printed  in  1544  in  Paris  by  Robert 
Estienne. 

54.  Tory's  Greek  Initials  (1526)  reproduced  in  1909 
by  Bruce  Rogers.    See  original  initial  in  item  51. 

Robert  Estienne  (1503-1509)  and  his  son,  Henry  Estienne  (1528- 
1598),  of  Paris  and  Geneva,  were  worthy  successors  of  Aldus 
Manutius.  Robert  Estienne  was  the  greatest  Latin  scholar  of  his 
time,  compiling,  among  other  great  works,  his  Thesaurus  Linguae 
Lattnae.  Henry  Estienne  was  the  greatest  Grecian  scholar  of  his 
time,  issuing  his  Thesaurus  Linguae  Graecae  in  1574.  These  books 
weer  for  nearly  two  centuries  the  chief  source  of  the  Latin  and  Greek 
lexicons. 

The  Estienne  dynasty  of  printers,  begun  by  Henry  Estienne  in 
1501,  continued  with  great  distinction  until   1674. 

The  Estienne  editions  are  all  superior  and  many  of  them  very 
beautiful 

Case  No.  11 

SEVENTEENTH  CENTURY  PRINTING  IN  FRANCE, 
HOLLAND  AND  ENGLAND 

56.  Traitte  de  la  Peinture  de  Leonard  de  Vinci: 
Paris:   printed  by  Jacques  Langlois,  1651. 

Note  the  use  of  copperplate  engravings  for  headpiece  and  initials, 
involving  two  printings  of  each  sheet.  The  book  is  profusely  illus- 
trated. 

11 


57.  Corpus  Juris  Civilis.  Amsterdam:  printed  by 
Ludovic  and  Daniel  Elzevir,  1653. 

This  is  the  largest  book  printed  by  the  famous  Elzevir  family, 
who  printed  for  a  century  and  a  half.  They  designed  and  made 
these  famous  "Elzevir"  types,  in  a  copy  of  which  this  catalogue  is 
printed. 

Here  we  have  a  masterpiece  of  plain  composition. 

58.  First  History  of  Printing  in  any  language:  His- 
toire  de  I'lmprimerie  et  de  la  Librairie,  by  La 
Caille,  a  master  printer  of  Paris,  1689. 

59.  The  First  Text  Book  of  Printing:  Mechanick  Ex- 
ercises, or  the  Doctrine  of  Handy-Works  applied 
to  the  Art  of  Printing  by  Joseph  Moxon,  printer 
and  typefounder.  London:  printed  by  the 
author,  1693. 

For  an  account  of  Moxon  and  his  text  books  see  item  243.  For 
its  time  this  was  a  perfect  text  book.  It  contains  the  rules  of  the 
printers'  guild  and  customs  of  the  chapel,  and  is  very  interesting. 

Case  No.  12 

REVIVAL  OF  GOOD  PRINTING  IN  THE  EIGHTEENTH 
CENTURY 

In  the  first  half  of  the  eighteenth  century  the  art  of  printing  everywhere 
was  in  decadence.  In  the  latter  half  of  the  century  there  was  a  temporary 
revival  in  the  works  of  Baskerville,  Bodoni  and  Bulmer;  the  latter  two  carry- 
ing over  to  the  beginning  of  the  nineteenth  century. 

60.  D.  Junii  Juvenalis  et  Auli  Persii  Flacci  Satyrae, 
printed  in  1761  in  Birmingham  by  John  Basker- 
ville. 

61.  Oratio  Dominica  in  C.  V.  Languages,  printed  in 
1806  in  Parma  by  Giambattista  Bodoni. 

62.  Poems  of  Goldsmith  and  Parnell,  printed  in  1795 
in  London  by  William  Bulmer,  with  wood  cuts 
by  Thomas  Bewick. 

Case  No.  13 

SOME  NOTABLE  BOOKS 

63.  First  Book  printed  by  Benjamin  Franklin  as  a 
master  printer:  The  History  of  the  Rise,  Increase 

12 


and  Progress  of  the  Christian  People  called  the 
Quakers,  printed  in  1728  in  Philadelphia  by 
Samuel  Keimer  and  B.  Franklin. 

64.  Book  on  which  B.  Franklin  first  tried  his  'prentice 
hand  as  a  printer:  A  Sermon  by  Thomas  Prince. 
Boston:  printed  by  James  Franklin,  1718. 

65.  Book  of  which  the  Types  were  composed  by  B. 
Franklin,  journeyman  printer:  The  Religion  of 
Nature  Delineated,  printed  in  1725  in  London  by 
S.  Palmer. 

66.  Earliest  Example  of  American  Fine  Printing :  The 
Columbiad,  a  Poem,  by  Joel  Barlow;  printed  in 
1806  in  Philadelphia  by  Fry  and  Kammerer. 

67.  Book  which  brought  about  the  Revival  of  Caslon 
Types  after  a  desuetude  of  half  a  century :  Diary 
of  Lady  Willoughby,  printed  in  1844  in  London 
by  The  Chiswick  Press. 

68.  First  Specimen  Book  of  William  Caslon,  printed 
in  1764  in  London. 

Prior   to    1764   Caslon   issued   broadside   specimens,   oommencinf 
in  1734. 

Case  No.  14 

William  Morris  revived  the  Art  of  the  Book  in  the  latter  part  of  the 
nineteenth  century.  He  had  a  numerous  band  of  disciples,  in  America  as 
well  as  in  England.  Fine  printing  in  America  commenced  with  the  introduc- 
tion of  Morris'  types  in  1895. 

69.  A  Morris  Book:  The  Water  of  the  Wondrous 
Isles,  of  which  William  Morris  was  author  and 
printer,  using  types  and  initials  and  decorations 
of  his  own  design.  Morris  had  three  type  faces. 
This  is  his  Chaucer  Types. 

70.  A  Morris  Book:  Laudes  Beatae  Mariae  Virginis. 
Set  in  William  Morris'  Troy  Type,  with  initials 
and  decorations  of  his  own  design. 

71.  A  Morris  Book:  The  Golden  Legend  of  Master 
William  Caxton.  Set  in  William  Morris'  Golden 
Types,  with  initials  and  decorations  of  his  own 
design. 

13 


72.  A  Doves  Press  Book:  Areopagitica,  printed  by 
Richard  Cobden-Sanderson  and  Emery  Walker, 
London,  1907. 

73.  An  Ashendene  Press  Book,  printed  by  St.  John 
and  Cicely  Hornby,  Chelsea,  1904. 

Case  No.  15 

WORKS   OF   AN   AMERICAN    MASTER  OF 
TYPOGRAPHY:    BRUCE  ROGERS 

74.  A  Bruce  Rogers  Book:  The  History  of  Oliver  and 
Arthur.  Printed  in  Cambridge,  Massachusetts,  in 
1903. 

75.  A  Bruce  Rogers  Book:  Life  of  Dante.  Printed  in 
Cambridge,  Massachusetts,  in  1904. 

76.  A  Bruce  Rogers  Book:  The  Centaur.  Printed  in 
Montague,  Massachusetts,  in  1915. 

77.  A  Bruce  Rogers  Book:  Theocritus.  Printed  in 
Cambridge,  Massachusetts,  in  1906. 

78.  A  Bruce  Rogers  Book:  The  Constitution  of  the 
United  States.  Printed  in  Cambridge,  Massa- 
chusetts, in  1911. 

Case  No.  16 

AMERICAN  FINE  PRINTING 

79.  A  Bruce  Rogers  Book:  Earl  Percy's  Dinner  Talk. 
Printed  in  Cambridge,  Massachusetts,  in  1907. 

80.  A  Bruce  Rogers  Book:  Essays  of  Michael,  Lord 
of  Montaigne.  Printed  in  Cambridge,  Massachu- 
setts in  1903. 

81.  A  Bruce  Rogers  Book:  Instructions  Concerning 
Erecting  of  a  Library.  Printed  in  Cambridge, 
Massachusetts,  in  1903. 

82.  A  Bruce  Rogers  Book:  Sions  Sonets,  sung  by 
Solomon  the  King.  Printed  in  Cambridge,  Mas- 
sachusetts, 1905. 

83.  America's  Latest  Fine  Book:  Art  and  the  Great 
War.  Printed  by  W.  E.  Rudge  in  New  York  in 
1919;  types  designed  by  Fred  W.  Goudy. 

14 


Case  No.   17 

PUBLICATIONS  OF  THE  CARTERET  BOOK  CLUB 
OF  NEWARK 

84.  The  Newark  Book:  text  by  Walter  Pritchard 
Eaton;  wood  engravings  by  Rudolph  Ruzicka. 
Printed  by  D.  B.  Updike,  the  Merrymount  Press, 
Boston,  1918. 

85.  Charles  Dickens:  an  Appreciation  by  Charles 
Dudley  Warner.  Printed  by  the  Marion  Press, 
Jamaica,  Long  Island. 

86.  Modern  Fine  Printing  in  England  and  Mr.  Bruce 
Rogers,  by  Alfred  W.  Pollard.  Printed  by  Carl 
Purington  Rollins,  at  the  Dyke  Mill,  Montague, 
Massachusetts,  1916. 

Case  No.  18 

PUBLICATIONS  OF  THE  CARTERET  BOOK  CLUB 
OF  NEWARK 

87.  Criticism:  An  Essay,  by  Walt  Whitman.  Printed 
by  the  Marion  Press,  Jamaica,  Long  Island,  1913. 

88.  Rubaiyat  of  Omar  Khayyam.  Printed  by  the 
Baker  Printing  Company,  Newark,  New  Jersey, 
1915. 

89.  Letters  of  Hawthorne;  2  vols.  Printed  by  the 
Marion  Press,  Jamaica,  Long  Island,  1910. 

90.  Letters  of  Bulwer-Lytton  to  Macready,  with  in- 
troduction by  Brander  Matthews.  Printed  by 
D.  B.  Updike,  the  Merrymount  Press,  Boston, 
1911. 

91.  Circulars,  Cards,  etc. 

Case  No.  19 

Miniature  and  Juvenile  Books  from  the  Collection  of 
Wilbur  M.  Stone,  Esq. 

(I)  Animal  A.  B.  C.  Glasgow:  David  Bryce  &  Son,  n.d.;  Ij^x^  in., 
.  in  case. 

15 


(2)  Witty,  Humorous  and  Merry  Thoughts.     Glasgow:  David  Bryce  &  Son, 

n.d. ;   Ij^x^  in.,  in  case. 

(3)  Holy  Bible.     Glasgow:   David  Bryce  &  Son;  London:   Henry   Frowde, 

Oxford,  University  Press  Warehouse,  Amen  Corner;  1^x1 54  in., 
the  smallest  Bible  known. 

(4)  Rubaiyat   of   Omar    Khayyam.     Glasgow:    David   Bryce  &  Son,   n.d.; 

2x1^4  in, 

(5)  Poems,    Chiefly   in   the   Scottish    Dialect,    by    Robert    Burns.      Kilmar- 

nock: printed  by  John  Wilson,  MDCCLXXXVI;  \fjs\H  in.,  in  case. 

(6)  Buch    der    Lieder    von    Heinrich    Heine.      Leipzig,    1907:    Schmidt    & 

Gunther;   1^x1 54  in. 

(7)  New  Testament.     Glasgow:  David  Bryce  &  Son,  n.  d.;  Hxi^  in. 

(8)  Miniature    History    of    England.      London:    Goode    Bros.,    Clerkenwell 

Green,  n.d.;  1^x1^  in.;  bought  for  a  penny  from  a  London 
peddler. 

(9)  Story   of   the   Grimalkin    Family.      By   Aunt   Laura.      Buffalo:    Breed, 

Butler  &  Co.,  1863;  1^x1^4  in. 

(10)  The  Dolls'  Surprise   Party.     By  Aunt  Laura.     Buffalo:   Breed,   Butler 

&  Co.,  1863;  l^xlj4  in. 

(11)  Fanny's    Pic-Nic.      By  Aunt    Fanny.      Buffalo:    Breed,    Butler  &   Co., 

1866;  lAxl  in. 

(12)  Fanny's  Birth-Day.     By  Aunt  Fanny.     Buffalo:   Breed,  Butler  &  Co., 

1866;   lAxl  in. 

(13)  La  Divina  Commedia,  di  Dante  Alighieri.    Firenze:  G.  Barbera,  Editore, 

1898;  470  pp.;  2>ixl^  in. 

(14)  A    Short    History    of    the    Bible    and   New   Testament,    with    48    Neat 

Engravings,  designed  by  Alfred  Mills.  London:  Harvey  &  Darton, 
1825;  2j^x254  in. 

(15)  Quintus  Horatius   Flaccus.     Londini:  Guliemils  Pickering,   57  Chancery 

Lane,  MDCCCXXIV;  354x1)4  in.;  an  example  of  the  famous 
Pickering  "Diamond  Classics." 

(16)  Pictures  of  English   Historj',   in   Miniature,  designed  by  Alfred  Mills, 

with  descriptions.  Vol.  IL  London:  Harvey  &  Darton,  1824; 
254x254  in. 

(17)  Simple   Stories,   A  Very   Easy   Reading-Book,   with  coloured   Pictures. 

London:  Harvey  &  Darton,   1840. 

(18)  The  Nursery  Present;  or.  Alphabet  of  Pictures.     Published  by  Harvey 

&  Darton,  Gracechurch  Street,  London,  n.d. 

(19)  New  Stories  for  Little  Boys;  Original  and  Selected.     By  Miss  Colman. 

New  York:  published  by  Samuel  Raynor,  No.  76  Bowery,  1852; 
printed  by  Samuel  Wood,  New  York,  which  firm  is  still  in  existence. 
See  item  20. 

(20)  My  Father.     A  Poem  for  Children.     New  York:  published  by  Samuel 

Wood  &  Sons,  No.  261  Pearl  Street,  and  Samuel  S.  Wood  &  Co., 
No.  212  Market  Street,  Baltimore. 

(21)  The    History    of    the    Holy    Jesus,    etc.      Worcester    (Massachusetts): 

printed  by  Isaiah  Thomas,  and  sold  at  his  Book  Store. 
MDCCLXXXVI. 

(22)  The   Wonderful   Life  and  Adventures   of  Robinson   Crusoe.     Albany: 

printed  by  E.  &  E.  Hosford,   1818. 

(23)  The  .Echo:  A  Story  About  William  and  Dick.     Boston;  published  by 

S.  (dolman,  3  Cornhill,  n.d.;  note  the  quaint  costumes. 


16 


Private  Press  Books,  the  Brothers  of  the  Book,  from 
the  Collection  of  Wilbur  M.  Stone,  Esq. 

(24)  One  hundred  Quatrains  from  the  Rubaiyat  of  Omar  Khayyam,  a  Ren- 

dering into  English  Verse  by  Elizabeth  Alden  Curtis.  Gouverneur, 
New  York.  Brothers  of  the  Book,  MDCCCXCIX;  printed  by  the 
Marion  Press,  Jamaica,  Long  Island. 

(25)  Peter  and  the    Fairies,   by   Arthur   Henry.     Chicago:    Brothers   of   the 

Book,  1913;  printed  by  The  Lakeside  Press,  Chicago. 

(26)  The  Squire's   Receipes,   being  a  Reprint  of  an  Odd  Little  Volume  as 

done  by  Kendall  Banning.  Chicago:  Brothers  of  the  Book,  1912; 
printed  by  The  Lakeside  Press,  Chicago. 

(27)  Some   Children's    Book-plates,    an    Essay   in    Little,   by   Wilbur   Macey 

Stone.  Gouverneur,  New  York.  Brothers  of  the  Book,  MDCCCI; 
printed  by  the  Heintzemann  Press,  Boston. 

(28)  Pirates,  or  the  Cruise  of  the  Black  Revenge.     A  melodrama  in  thirteen 

acts;  plot  by  Kendall  Banning;  scenes  carved  on  wood  by  Gustave 
Baumann.  Chicago:  Brothers  of  the  Book,  MDCCCCXVI;  printed 
by  The  Faithorn  Company,  Chicago. 

IN  UPRIGHT  WALL  CASES 

101.  Grammar  of  Ornament,  by  Owen  Jones,  illus- 
trated by  examples  from  various  styles  of  orna- 
ment, with  one  hundred  folio  plates  drawn  on 
stone  by  F.  Bedford  and  printed  in  colours  by 
Day  &  Son.    London,  1857. 

Each  plate  of  this  great  work  contains  a  number  of  examples  of 
decorative  art  in  colors.  This  copy  was  bound  by  Seton  and  Mac- 
Kenzie  of  Edinburgh,  Scotland,  and  was  awarded  the  gold  medal  in 
the  International  Exhibition  in  London  in  1862. 

102.  Polychromatic  Ornament:  One  hundred  plates  in 
Gold,  Silver  and  Colours,  comprising  upward  of 
two  thousand  specimens  of  the  various  styles  of 
Ancient,  Oriental  and  Medieval  Art  and  including 
the  Renaissance  and  the  Seventeenth  and  Eight- 
eenth Centuries;  the  subjects  selected  and  ar- 
ranged in  historical  order  and  in  a  form  suitable 
for  practical  use  by  A.  Racinet,  with  explanatory 
text  and  a  general  introduction,  translated  from 
the  original  French.    London,  1873. 

This  is  an  English  issue  of  the  original  French  edition.  The 
French  issue  was  from  the  celebrated  printing  house  of  Firmin 
Didot,  Freres,  Fils  et  Cie,  Paris  (see  items  104  and  107).  The  color 
plates  for  both  French  and  English  editions  were  made  by  the  cele- 
brated house  of  Lemercier  (see  item  208). 

103.  Histoire  de  L'Imprimerie  en  France  au  XVe  et 

17 


XVIe  Siecle,  par  A.  Claudin,  laureat  de  I'institut, 
Paris:    Imprimerie  Nationale,  1904. 

Three  volumes  of  this  noble  history  of  printing  in  France  have 
been  issued  by  the  French  government  from  its  historical  national 
printing  house  (established  in  1639).  This  work  is  the  finest  piece 
of  book  printing  in  this  exhibition.  The  types  with  which  it  is 
printed  were  made  from  punches  and  matrices  designed  and  made  by 
Garamond  (see  item  148)  and  Grandjean.  The  paper  is  handmade 
and  the  work  was  printed  two  pages  to  a  form  in  perfect  register 
with  a  deckle  all  around. 

104.  Paleographie  Universelle:  Collection  de  Fac- 
simile d'Ecrituses  de  Tous  les  Peuples  et  de  Tous 
les  Temps  .  .  .  par  M.  Silvestre  .  .  .  et 
accompagnes  d'explications  historiques  et  descrip- 
tives  par  MM.  Champollion — Figeac  et  Aime 
Champollion  Fils,  Paris:  typographie  de  Firmin 
Didot  Freres,  Imprimeurs  de  I'institut  de  France, 
1837-1841. 

This  is  a  history  of  books  in  all  times  among  all  peoples  before 
the  invention  of  printing,  illustrated  in  a  magnificent  manner.  The 
authors  were  the  greatest  authorities  on  paleography  in  their  times, 
one  of  them  having  found  the  long-lost  keys  to  the  Egyptian  hiero- 
glyphics. The  printers  and  publishers  were  the  famous  House  of 
the  Didots.  Beginning  in  1698,  this  house  continues  in  Paris  to  this 
day.  At  all  times  this  family  has  held  a  leadership  in  printing.  At 
the  time  this  book  was  issued  the  firm  made  its  own  paper  and  its 
own  types.  The  Foudrinier  paper-making  machine  was  invented  in 
their  paper  mills — the  first  machine  to  make  paper,  now  in  world- 
wide use.  Firmin  Didot  revised  the  Fournier  point  system  of  type 
bodies,  a  system  in  use  in  France  since  1742;  it  is  now  known  as 
the  Didot  System.  Several  of  the  Didots  from  generation  to  genera- 
tion wrote  about  printing.  Some  of  these  works  are  highly  author- 
itative.    (See  item  107.) 

105.  The  Sermon  on  the  Mount,  illuminated  by  W.  and 
G.  A.  Audsley,  architects,  Liverpool;  illustrated 
by  Charles  Rolt;  chromolithographed  by  W.  R. 
Tymms.    London:  Day  &  Son,  1861. 

G.  A.  Audsley  is  now  a  resident  of  New  Jersey,  carrying  on  his 
architectural  work  and  a  history  of  the  pipe  organ  at  the  age  of  82 
in  Bloomfield.  This  work  loaned  by  B.  Audsley,  Esq.,  son  of 
G.  A.  Audsley. 

106.  Dramatic  Works  of  Shakespeare,  revised  by 
George  Stevens.  London:  printed  by  W.  Bulmer 
&  Co.,  Shakespeare  Printing  Office,  1802. 

William  Bulmer  was  the  best  printer  in  all  Europe  for  a  brief 
period  of  fifteen  years,  commencing  1795.  See  item  62.  Supplied 
with  ample  capital  by  Boy  dell  (see  item  251),  he  achieved  his  first 

18 


fame  by  printing  this  noble  edition  of  Shakespeare  of  which  this  is 
Vol.  7.  His  beautiful  types  were  made  specially  for  his  use  under 
his  own  direction. 

107.  Publius  Virgilius  Maro:  Bucolica,  Georgica  et 
Aeneis.  Paris:  in  aedibus  Palatinis,  et  cudebam 
Petrus  Didot,  natu  major,  1798. 

Printed  and  published  by  Pierre  Didot,  with  types  and  paper 
made  by  himself.  See  item  104  for  a  further  account  of  the  House 
of  Didot. 

108.  Illuminated  Books  of  the  Middle  Ages:  an  ac- 
count of  the  development  and  progress  of  the  Art 
of  Illumination  as  a  distinct  branch  of  Pictorial 
Ornamentation,  from  the  IVth  to  the  XVI  Ith 
Centuries,  by  Henry  Noel  Humphreys,  illustrated 
by  a  series  of  examples  of  the  size  of  the  originals, 
selected  from  the  most  beautiful  MSS.  of  the 
various  periods,  executed  on  stone  and  printed 
in  colours  by  Owen  Jones.     London,  1849. 

From  the  collection  presented  to  the  Newark  Library  Association 
by  J.  Ackerman  Coles,  Esq. 

109.  The  Holy  Bible,  containing  the  Old  Testament 
and  the  New:  newly  translated  out  of  the  original 
Tongues  and  with  the  former  translations  dili- 
gently compared  and  revised  by  His  Majesty's 
special  command:  appointed  to  be  read  in 
churches.  Oxford:  printed  by  John  Baskett, 
printer  to  the  King's  most  excellent  Majesty  for 
Great  Britain,  and  to  the  University,  1717. 

Printed  in  the  celebrated  Dr.   Fell  types,   now  the  oldest  in   use 

-     in  England.     The  Jsuilding  pictured  on  the  title  page  is  the  famous 

Clarendon  Printing  House  in  which  this  book  was  printed.     See  item 

161.     This  book  from  the  collection  presented  to  the  Newark  Library 

Association  by  J.  Ackerman  Coles,  Esq. 

110.  Illuminated  Books  of  the  Middle  Ages.  (For 
particulars  see  item  108.)  Loaned  by  the  Free 
Public  Library  of  Newark,  New  Jersey. 

111.  India,  Ancient  and  Modern:  a  series  of  illustra- 
tions of  the  Country  and  People  of  India  and 
adjacent  territories,  executed  in  chromolithogra- 
phy  from  drawings  by  William  Simpson,  with 

19 


descriptive   literature   by   John   William    Kaye. 
London:   Day  &  Son,  Ltd.,  1867. 

From  the  collection  presented  to  the  Newark  Museum  Association 
by  J.  Ackerman  Coles,  Esq. 

112.  Poems  on  Several  Occasions  (by  Matthew  Prior). 
London:  printed  for  Jacob  Tonson  and  John 
Barber,  1718. 

From  the  collection  presented  to  the  Newark  Museum  Association 
by  J.  Ackerman  Coles,  Esq. 

This  work  was  printed  by  John  Barber,  at  the  time  when  he  was 
Lord  Mayor  of  Lx>ndon.     See  his  portrait,  item  230. 

v.— PORTRAITS  AND  OTHER  PRINTS 

121.  The  Evolution  of  the  Book,  by  John  W.  Alex- 
ander: six  reproductions  of  lunettes  in  the  Con- 
gressional Library,  Washington. 

Oral  Tradition.  Picture  Writing. 

The  Cairn.  The  Manuscript  Book. 

The  Hieroglyphs.  The  Printing  Art. 

122.  Jean  Guittemberg,  mort  en  1468;  copperplate  by 
Guillard;  J.  Robert,  del. 

123.  Statue  of  Gutenberg  at  Mentz,  erected  August  14, 
1837;  a  wood  cut. 

124.  Maguncia  (Mainz) :  The  earliest  engraved  pic- 
ture of  the  city  in  which  typography  was 
invented;  a  wood  cut  on  a  page  of  the  Nuremberg 
Chronicle,  printed  by  Coberger,  1493. 

125.  Laurentius  Costerus,  Harlemensis,  typogr.  in- 
vent.; copperplate  engraving  by  C.  Koning;  J.  V. 
Campen,  del. 

126.  Gutenberg's  First  Proof;  a  wood  cut  by  J.  Bann, 
Cincinnati,  from  a  German  lithograph. 

127.  Das  Gutenberg's  Monument  in  Mainz;  steel 
engraving  by  Joh.  Poppel,  Darmstadt;  L.  Lange, 
del. 

12.8.  Jean  Guttemberg;  copperplate  engraving,  by  De 
Larmessin,  on  a  page  of  a  book  containing  biog- 
raphies of  printers,  issued  by  the  Academie  des 
Sciences  et  des  Artes  de  France. 

20 


129.  Guttenberg's  monument  at  Mayence;  a  steelplate 
engraving  by  A.  Cruse;  W.  Tombleson,  del. 

130.  Aldus  Manutius  in  his  Printing  House  in  Venice, 
exhibiting  specimens  of  bookbinding  to  Jean 
Grolier,  circa  1499;  etching  by  Leopold  Flameng 
from  the  painting  by  Francois  Flameng,  now  in 
the  hall  of  The  Grolier  Club,  New  York. 

See  description  under  the  picture. 

131.  Broadside  printed  by  Bruce  Rogers:  the  Declara- 
tion of  Independence;  printed  in  Cambridge, 
Massachusetts,  in  1906,  in  Montaigne  capitals. 

132.  Johann  Fust;  a  lithograph  drawn  by  Baisch, 
printed  by  E.  Schumann. 

Fust  was  Gutenberg's  partner,  advancing  the  funds  required  to 
develop  the  invention. 

133.  Theodorus  Cornhertius  ad  vivum  depictus  at  aeri 
incisus  ab  H.  Goltzio;  circa  1591. 

Dierick  (Dirk,  Theodore)  Coornhert  was  an  eminent  printer  of 
Holland,  born  1522,  died  1590.  He  was  also  eminent  as  an  author 
and  translator,  and  in  the  preface  to  his  translation  of  "Officia 
Ciceronis,"  printed  in  Haarlem  in  1561,  he  was  the  first  to  advance 
the  claim  of  Coster  to  priority  in  the  invention  of  typography. 
Coornhert  also  excelled  as  an  engraver,  poet  and  musician,  and  held 
various  political  offices.     See  description   printed  under  the  picture. 

134.  Laurentius  Joh.  Fil.  (Laurens  Janszoon  Coster), 
Scabinus  Typographiae,  Harlemensis,  Inventor; 
copperplate  engraving  by  J.  Houbraken;  A. 
Schowman,  del. 

135.  Laurentius  Costerus  (Laurent  Jean  surnomme  Le 
Coustre) ;  copperplate  engraving  by  De  Larmens- 
sin;  J.  V.  Campen,  del.;  on  a  page  of  a  book  con- 
taining biographies  of  printers,  issued  by  the 
Academie  des  Sciences  et  des  Artes  de  France. 

136.  Christophorus  Plantinus,  Lahore  et  Constantia 
(Christopher  Plantin  and  his  mark) ;  woodcut  by 
Edw.  Pellens,  1911. 

Plantin  established  his  printing  house  in  Antwerp  in  1555.  He 
soon  became  the  most  notable  printer  of  his  time  in  the  Netherlands. 
His  printing  house  was  maintained  and  his  fame  kept  untarnished 
by  his  descendants  without  intermission  until  1873,  when  the  print- 
ing house  was  sold  to  the  city  of  Antwerp  to  be  maintained  as  a 
museum  (Plantin  Musee)  of  matters  relating  to  printing.  It  is  now 
the  most  interesting  memorial  in  that  great  city. 

21 


137.  Aldus  Pius  Manutius,  Romanus;  a  copperplate 
engraving  from  a  book  containing  one  hundred 
and  fifty  similar  portraits  of  great  printers,  pub- 
lished in  1726  by  Frederic  Roth-Scholtz,  printer, 
Nuremberg. 

138.  Aldo  Manuzio;  copperplate  engraving  by  Moses 
Haughton  from  the  original  painting  by  Giovan 
Bellino. 

AMus  Pius  Manutius,  the  greatest  of  printers,  was  the  greatest 
single  force  in  the  Renaissance  (or  rebirth  of  learning"),  by  which 
modern  civilization  was  began. 

139.  Joanes  Frobenius,  Typograph.,  Bas.  (John  Fro- 
ben,  printer,  Basle),  n.d. 

Froben  was  one  of  the  learned  printers  of  the  early  XVI  century 
and  principal  publisher  of  the  works  of  Erasmus,  who  was  at  times 
employed  as  editor  by  Froben.  He  also  employed  the  celebrated 
artist,  Holbein,  as  designer  and  engraver. 

140.  Caxton  Shewing  the  First  Specimens  of  his  Print- 
ing to  King  Edward  the  Fourth;  mezzotint 
engraving  by  Frederick  Bromley,  after  the  paint- 
ing by  D.  Maclise,  R.A. 

141.  Paulus  Manutius  (Paul  Manuce);  copperplate 
engraving  by  De  Larmessin,  on  a  page  of  a  book 
containing  biographies  of  printers  issued  by  the 
Academie  des  Sciences  et  des  Artes  de  France. 

142.  Johannes  Frobenius,  typographorum  omnium  aevi 
sui  princeps,  den  Basillae,  1527;  copperplate  en- 
graving by  B.  Hubner,  1793,  after  portrait  painted 
from  life  by  Holbein. 

See  catalogue,  item   139. 

143.  William  Caxton  Examining  the  First  Proof  Sheet 
from  his  Printing  Press  in  Westminster  Abbey, 
A.  D.  1471;  mezzotint  engraving  by  F.  Bacon 
from  the  painting  by  E.  H.  Wehnert. 

144.  Robertus  Stephanus  (Robert  Estienne);  copper- 
plate engraving  on  a  page  of  an  early  book  of 
biographies  of  printers. 

145.  Robert  Estienne;  lithograph  by  Chretien. 

Robert   Estienne,   an   apprentice   of   his   father   (Henry),  was   not 
only   the  best  printer  of  his   time   (1522-1559)    in   France,   but  was 

22 


also  the  leading  Latin   scholar.     The   Estienne  family  were  printers 
from  1502  to  1639. 

146.  Frame  containing  Portraits  of  Celebrated 
Printers: 

Johannes   Zurenus,    Haarlem,    at    age   of   71;    copperplate   engraving. 
Wynken  de  Worde,  first  assistant  and  successor  of  William  Caxton. 
Aldo  Manuzio.     See  catalogue,  item  138. 
Franciscus    Raphelengius,    son-in-law    and    partner   of    Plantin.      See 

catalogue,  item  136. 
John  Day  (London,    1546-1584),  printer  of  Fox's  Book  of  Martyrs. 
Bonifacius   Amerbachius,   one   of   the   early   and   learned   printers   of 

Basle. 
Sigismundus    Feyrabendius,   of   Frankfurt-a-Main,   of  which   city   he 

was  burgomaster. 
Jean  Froben.     See  catalogue,  item  139. 

147.  Joannes  Lascaris,  a  Greek,  who  came  to  Italy  and 
assisted  the  early  printers  in  designing  Greek 
types  and  printing  the  first  books' in  Greek. 

148.  Claude  Garamond,  the  first  to  make  types  for  sale 
as  a  business  separate  from  printing. 

Garamond   was   the   best   type   designer  of  his  day   (1540-1561). 
Before  Garamond's  time  printers  made  their  own  types. 

149.  Francois  Muguet,  premier  Imprimeur  du  Roy  et 
du  Clerge  de  France;  copperplate  engraving  by 
S.  Thomassin,  1770;  Simon  Dequoy,  del. 

150.  Petrus  Emery,  Biblio-Typographorum  Parisien- 
sium;  copperplate  engraving  by  I.  Moyreau,  1729. 

151.  Christophorus  Plantinus,'  copperplate  engraving 
by  E.  de  Boulonois. 

152.  Bonifac.  Amerbach  ic.  Basl;  copperplate  en- 
graving. 

See  catalogue,  item   146. 

153.  Petrus  Scriverius,  learned  proofreader  and  editor; 
mezzotint  by  J.  Houbraken;  C.  de  Visscher,  del. 

154.  Jo.  Antonius  Rubens,  Alexandrinus;  anno  1533. 

155.  Joannes  Baptista  Coignard,  Regis  et  Academiae 
Gallicae  Architypographus;  copperplate  engrav- 
ing by  CI.  Duflos,  circa  1689. 

156.  Baltasar  Moretus,  son-in-law  and  partner  of 
Plantin;  copperplate  engraving. 

See  catalogue,  item   136. 

157.  William   Leybourn:   two  portraits;   copperplate 

23 


engravings,  one  by  R.  White;  one  at  the  age  of 
27,  the  other  at  the  age  of  64,  in  the  year  1690. 

Leybourn,  in  addition  to  being  a  busy  printer,  was  a  notable 
mathematician.  His  "Cursus  Mathematicus"  was  used  in  the  higher 
schools,  and  his  "Trader's  Sure  Guide,"  a  ready  reckoner,  had  a 
wide  sale. 

158.  Building  now  occupied  by  the  Oxford  University 
Press,  erected  in  1713;  copperplate  engraving  by 
Henry  Le  Kens,  1832;  F.  MacKenzie,  del. 

The  Oxford  Bibles  are  printed  in  this  building.  See  also  cata- 
logue, items  161  and  176. 

159.  Joannes  Sturmius  (of  Strasbourg). 

160.  Christianus  Egenolphus,  primus  typographus 
Francofurtus  ad  Moenum  and  Conrad  Benner 
(his  nephew),  two  early  printers  of  Frankfurt; 
on  one  copperplate  engraving. 

161.  Two  Views  of  the  Second  Building  of  the  Oxford 
University  Press,  known  as  the  Clarendon  Print- 
ing House,  erected  in  1713. 

At  the  top,  a  front  view;  below,  a  side  view.  The  building  is 
still  in  use.     See  catalogue,  items  158  and  176. 

162.  Georg  Endter  der  Alter  Buchhandler,  at  age  of 
45,  in  1606;  copperplate  engraving  by  Cor.  Nicos. 
Schurtz. 

(No.  163.     See  Part  VI.) 

164.  Johannes  Ogilvius  (John  Ogilvy),  distinguished 
printer  in  London  in  XVII  Century. 

165.  Kaiser  Joseph  II  in  his  youth,  at  the  printing 
press,  with  the  leading  master  printers  of  Vienna; 
woodcut  by  Exter,  1853;  Leander  Russ,  del. 

166.  Alexandre  Boudan.  Imprimeur  du  Roy  pour  les 
Taille  Douces,  mort  le  19th  Avril,  1671;  mezzo- 
tint by  Isaac  Sarabut;  Claudius  Le  Feure,  del. 

He  was  a  famous  copperplate  engraver  and  printer. 

167.  Thomas  Bewick,  regenerator  of  the  Art  of  Wood 
Engraving. 

See  description  printed  under  the  portrait 
(No.   168.     See  Part  VI.) 

169.  David  Bruce,  Jr.,  of  New  Brunswick,  New  Jersey, 
inventor  of  the  typecasting  machine. 

24 


The    typecasting    machine    was    successfully    introduced   in    1838, 
rapidly  superseding,  here  and  in  Europe,  the  hand  mould  with  which 
all  types  had  to  be  cast  from  1450  to  1838. 
(Nos.   170,  171,  172.     See  Part  VI.) 

173.  Richard  March  Hoe,  of  New  York,  inventor  in 
1847  of  the  first  fast  newspaper  press,  the  type 
revolving  press. 

This  press,  prior  to  1865,  was  used  by  newspapers  of  large  cir- 
culation in  all  parts  of  the  world.  The  types  for  all  the  pages  of  a 
newspaper  were  assembled  in  turtles  around  a  large  cylinder,  varying 
in  size  with  the  requirements  of  the  paper.  Papers  like  the  New 
York  Tribune  had  presses  with  ten  feeders,  printing  ten  complete 
copies  (on  one  side  only)  at  each  revolution  of  the  cylinder.  This 
press  made  R.  Hoe  &  Co.  famous  and  wealthy. 
(No.   174.    See  Part  VI.) 

175.  Darius  Wells,  of  Paterson,  New  Jersey,  inventor 
of  the  Routing  Machine,  first  made  for  him  by 
John  Royle,  of  Paterson,  whose  sons  continue  the 
manufacture. 

Darius  Wells  was  a  master  printer  in  New  York,  when  he  decided 
to  enter  upon  the  manufacture  of  wood  type.  In  that  industry  he 
was  a  pioneer,  and  to  expedite  the  cutting,  he  invented  the  routing 
machine,  also  giving  it  a  name  theretofore  unknown  in  mechanics. 
In  time  it  became  indispensable  to  process  engravers. 

176.  First  Building  occupied  by  the  Oxford  University 
Press:  The  Sheldonian  Theatre;  two  views,  front 
and  rear;  erected  in  1669,  the  gift  of  Bishop 
Sheldon. 

See  catalogue,  items  158  and  161. 

177.  George  P.  Gordon,  of  Rahway,  New  Jersey,  in- 
ventor in  1856  of  the  Gordon  Platen  Press,  which 
he  made  in  Rahway. 

The  manufacture  of  this  press  is  now  carried  on  by  his  successors 
in  Cleveland,  Ohio. 

178.  Jacques  Vincent,  Imprimeur-Libraire,  Syndic  en 
1744,  mort  le  7th  Mai,  1760,  age  de  88  ans;  cop- 
perplate engraving  by  N.  B.  de  Poilly. 

Was  master  (syndic)  of  the  Printers'  Guild  of  Paris  for  many 
years. 

179.  John  W.  Wilcox,  of  Boston,  who  in  1841  invented 
Electrotyping. 

The  electrotyping  plant  founded  by  Wilcox  is  still  in  operation  in 
Boston. 

180.  William  Bullock,  who  in  1863  invented  the  first 
successful  web  newspaper  perfecting  press  on  the 

25 


principle  now  in  use  bn  all  newspapers  of  large 
circulation. 

Bullock  was  killed  in  1867  while  erecting  one  of  his  presses  in 
the  printing  house  of  the  Philadelphia  Public  Ledger. 

181.  Frederic  Leonard,  Bruxellensis,  Regio  Serenissimi 
Delphini  et  Cleri  Gallicani  Architypographus, 
aetatis  67,  in  the  year  1689;  copperplate  engrav- 
ing by  Gerardus  Edelinck;  Hyacinth  Rigaud,  del. 

Leonard  was  an  apprentice  of  Plantin  in  Antwerp.  In  course  of 
time  he  set  up  business  for  himself  with  great  success  in  Paris. 

182.  Frederic  Eugene  Ives,  inventor  of  the  Cross-line 
Screen,  the  present  Method  of  Making  Halftones 
and  the  Three-Color  Process. 

Mr.  Ives  is  still  living.  He  is  in  business  in  Philadelphia,  devel- 
oping a  new  method  of  color  photography,  an  advance  on  his  beau- 
tiful Kromskop  color  pictures. 

183.  Baxter  Process  Color  Printing,  invented  in  1829 
by  George  Baxter,  a  printer  and  engraver,  and  son 
of  John  Baxter  of  Lewes  in  England,  inventor  of 
the  printers'  composition  roller.  Subject:  The 
Parting  Look. 

This  is  the  largest  picture  made  by  Baxter.  The  work  was  pro- 
duced from  wood  blocks  on  a  press  similar  to  the  Washington  hand 
press.  The  process  was  in  extensive  use  down  to  1860,  when  it  was 
superseded  by  chromo-lithography.     See  also  item  No.   184. 

184.  Group  of  Examples  of  the  Baxter  Process  of  Color 
Printing,  with  description  of  the  process  in  the 
frame. 

See  also  item  No.    183. 

185.  Giambattista  Bodoni  (1714-1813),  the  greatest  of 
modern  Italian  printers  and  typefounders;  roto- 
gravure from  the  oil  painting  preserved  in  the 
Municipal  Library  in  Turin,  attributed  to  the 
artist,  Giuseppe  Lucatelli. 

One  of  Bodoni's  type  designs,  revived  in  America  in  1910,  called 
Bodoni,  is  now  one  of  the  more  popular  type  designs  in  use,  unex- 
celled for  dignity  and  clearness. 

186.  The  Pitt  Pre.ss  of  the  University  of  Cambridge, 
England;  copperplate  drawn  and  engraved  by  B. 
Challis,  for  the  Cambridge  University  Almanac, 
1834. 

26 


187.  Robert  Estienne;  copperplate  engraving,  hand 
colored,  by  Lectore;  Jacquand,  del. 

See  catalogue,  item  No.   145. 

188.  Pierre  Guillaume  Simon,  Imprimeur  du  Parlia- 
ment, born  April  10,  1722. 

Simon  was  received  into  the  printers'  guild  of  Paris  in  1735.  He 
succeeded  to  his  father's  business  of  printing  in  1741. 

189.  Fredericus  Leonard,  B.,  Regis  et  Serenissima  Del- 
phini  Architypographus,  aged  69,  in  1693;  cop- 
perplate engraving  by  Verneulau;  Rigaud,  del. 

See  catalogue,  item  No.  181. 

190.  Friedrich  Koenig,  inventor  in  1812  in  London  of 
the  first  Cylinder  Printing  Press,  with  Andreas 
Friedrich  Bauer,  his  assistant  and  partner. 

The  frame  also  contains:  Picture  of  Koenig's  birthplace  in  Eis- 
leben,  Germany;  his  tombstone  in  the  factory  grounds  at  Oberzell, 
Bavaria;  his  monument  in  Eisleben;  and  the  printing  press  factory 
of  Koenig  &  Bauer,  still  operated  by  their  descendants  in  Oberzell. 
The  original  factory,  still  in  use,  is  an  abandoned  monastery.  Mod- 
ern additions  are  also  shown. 

191.  Linn  Boyd  Benton,  of  Plainfield,  New  Jersey,  the 
inventor  in  1885  of  the  Benton  punch  and  matrix 
cutting  machines,  now  in  general  use  in  America 
and  Europe. 

Mr.  Benton  is  now  the  head  of  the  general  manufacturing  depart- 
ment of  the  American  Type  Founders  Company  in  Jersey  City,  of 
which  company  he  is  a  director. 

These  machines  proved  to  be  of  extraordinary  importance.  Mer- 
genthaler  in  1887  had  succeeded  in  producing  a  machine  which 
assembled- matrices  from  which  to  cast  lines  of  words.  This  is  the 
linotype  machine.  No  adequate  provision  was  made  for  making  the 
matrices.  Mergenthaler  relied  upon  hand  punch  cutting,  but  when 
the  Linotype  machine  was  made  practicable  it  was  found  that  there 
were  not  enough  hand  punch  cutters  in  the  world  to  furnish  the 
matrices  required.  For  this  reason  the  promoters  of  the  linotype 
machine  were  facing  failure,  when  they  heard  of  the  machine  invented 
by  Benton,  which  turned  failure  into  success.  Linotype  and  mono- 
type matrices  are  made  from  punches  cut  on  Benton's  machine  or 
some  adaptation  of  his  marvelous  invention.  Typefounders'  types 
are  largely  made  from  matrices  cut  on  Benton's  matrix  cutting  ma- 
chine. Undoubtedly  these  machines  are  the  most  original  and  perfect 
among  all  inventions  which  have  forwarded  the  printer's  occupation. 

192.  John  Nichols,  Esq.,  F.  S.  A.;  mezzotint  engraved 
by  A.  Gordon  from  an  original  drawing  by  H. 
Edridge. 

27 


John  Nichols  entere,d  the  printing  field  as  an  apprentice  to 
William  Bowyer  II,  whose  portrait  may  be  seen  at  No.  205.  He 
advanced  through  all  grades  to  the  management  of  the  business,  one 
of  the  largest  in  London.  Bowyer  bequeathed  the  business  to  Nichols 
upon  his  death  in  1777,  and  at  the  present  time  it  is  continued  in 
Westminster  by  his  great-great-grandsons.  John  Nichols  became  the 
most  influential  printer  in  England.  He  owned  and  edited  the 
Gentleman's  Magazine  and  wrote  a  life  of  William  Bowyer.  His 
"Literary  Anecdotes  of  the  Eighteenth  Century"  is  a  standard  work 
of  reference  for  students  of  history,  and  has  embodied  in  it  a  detailed 
history  of  printing  during  the  XVIII  Century.  Nichols  was  an  honor 
to  his  occupation. 

193.  Ottmar  Mergenthaler  (1854-1899);  inventor  of 
the  Linotype  Machine. 

(No.  194.     See  Part  VI.) 

196.  Henry  Barth  (1823-1907),  inventor  of  the  Auto- 
matic Type  Casting  Machine. 

This  machine  is  entirely  automatic,  and  produces  types  of  all 
sizes.  On  average  sizes  its  product  is  five  or  six  times  greater  than 
that  of  the  steam  casting  machine,  which  it  has  displaced,  while  the 
product  is  superior. 

197.  Visit  of  a  Group  of  Collectors  to  the  Library  of  a 
fellow  Collector;  a  photogravure. 

198.  P.  Prault;  copperplate  engraving  by  Laurence 
Carrs,  1755;  N.  Cochin,  del. 

199.  De  la  Fond,  founder  of  the  first  modern  news- 
paper in  Holland,  La  Gazette  Ordinaire  d' Amster- 
dam, December  5.  1667:  In  Effigiem  Domini  De 
la  Fond,  Galli;  copperplate  engraving  by  P.  Lom- 
bart;  H.  Gascard,  del. 

200.  Caricature  Portrait  of  A.  Foulis,  the  Celebrated 
Printer  at  Glasgow;  copperplate  engraving  from 
drawing  by  E.  Topham,  published  by  M.  Darby, 
London,  1775. 

The   Foulis   Brothers  of  Glasgow,   learned  printers,  are  the  most 
celebrated  among  Scottish  printers.     They  rivaled  Baskerville. 
(Nqs.  201,  202,  203,  204.     See  Part  VI.) 

205.  Gulielmus  Bowyer,  Architectus  Verborum,  ae- 
tat  78. 

William  Bowyer  (1669-1777),  conducting  one  of  the  larger  print- 
ing establishments  in  London,  was  also  distinguished  as  a  scholar. 
He  has  been  called  the  last  of  the  "learned  printers."  He  wrote 
several  scholarly  books,  including  a  history  of  printing.  In  his  will 
he  left  munificent  benefactions  to  the  working  prmters  of  London, 
which  they  still  enjoy.     His  business   he  left  to  John  Nichols,  who 

28 


had  entered  his  employ  as  an  apprentice.  Nichols  conducted  the 
business  successfully  and  became  more  famous  than  his  benefactor. 
Nichols'  descendants  are  now  operating  the  business  on  a  large  scale 
in  Westminster.     See  portrait  of  Nichols,  item   192. 

Bowyer  advanced  the  funds  with  which  William  Caslon  I.  estab- 
lished his  now  famous  type  foundry. 

In  the  picture  Bowyer  is  described  as  an  architect  of  words. 
This  every  compositor  is:  he  assembles  and  displays  words,  using 
types  as  a  bricklayer  uses  bricks  and  mortar.  The  compositor  is 
doing  literary  work.  If  he  is  ill-acquainted  with  words  his  work  is 
necessarily  inferior.  It  is  an  occupation  for  men  above  the  average 
in  scholarship. 

206.  Talbot  Baines  Reed,  a  distinguished  English  Type 
Founder,  author  of  "The  History  of  Old  English 
Letter  Foundries,"  an  authoritative  and  highly 
interesting  book. 

207.  Joann,  Bapt.  Coignard,  Regis  et  Academiae  Gal- 
licae  Typographus. 

Jean  Baptist  Coignard  was  one  of  a  distinguished  family  of 
printers  in  Paris.  This  picture  was  issued  in  his  honor  by  A,  E. 
Le  Mercier  and  Elizabeth  Le  Boudet,  of  his  family. 

208.  Pierre  Augustin  Le  Mercier,  Imprimeur  ordinaire 
de  la  Ville  (de  Paris).  Ancien  Syndic  de  su  Com- 
munaute,  mort  les  9  Janvier,  1734,  age  de  68  ans. 

The  family  Le  Mercier  has  been  distinguished  as  printers  for 
more  than  two  centuries.  The  subject  of  this  portrait  was  master 
(syndic)  of  the  guild  of  printers  of  Paris.  Items  103  and  104  in 
this  exhibition  were  printed  by  his  descendants.  They  are  master 
works  in  color  printing. 

209.  Portrait  of  William  Leybourn,  distinguished  Eng- 
lish printer,  at  the  age  of  30;  copperplate  engrav- 
ing by  R.  Gaywood. 

Leybourn  was  born  in  1626.  For  other  portraits  at  various  ages 
see  items  157  and  210. 

210.  Portrait  of  William  Leybourn;  copperplate  en- 
graving by  R.  White. 

See  also  items  157  and  209. 

211.  Portrait  of  Sigismund  Feyrabend,  master  printer 
and  burgomaster  of  Frankfurt;  copperplate 
engraving  by  J.  Sadeler,  1587. 

Feyerabend  printed  a  series  of  small  illustrated  books  which  are 
now  highly  valued  by  collectors. 
(Nos.  212,  213.    See  Part  VI.) 

214.    Franklin  at  the  Court  of  France,  1776,  receiving 

29 


the  homage  of  genius  and  the  recognition  of  his 
country's  advent  among  the  nations;  copperplate 
engraving  by  W.  O.  Geller  from  a  painting  by 
Baron  Jolly,  Brussels;  colored  by  hand. 

215.  Sebastian  Cramoisy,  a  distinguished  printer  of 
Paris,  who  died  at  the  age  of  83  in  1669;  copper- 
plate engraving  from  portrait  by  Rousseler,  1642. 

216.  Johannes  Enschede,  Printer  and  Type  Founder, 
born  in  Haarlem  in  1708;  copperplate  engraving 
by  C.  Van  Neerde,  1768. 

218.  Bayard  Taylor,  Printer,  a  distinguished  Poet  and 
Prose  Writer. 

219.  William  Caslon  1,  who  established  his  type  foun- 
dry in  1727;  designer  of  the  most  popular  type 
design  in  present  use. 

(Nos.  220,  221,  222.    See  Part  VI.) 

223.  Benjamin  Franklin's  Printing  House  in  Philadel- 
phia. Color  print  by  Brown  and  Bigelow,  St. 
Paul,  Minnesota,  after  oil  painting  by  J.  L.  G. 
Ferris. 

224.  Peter  Force.  A  lithograph  from  life  by  Chs.  Fen- 
derick,  with  autograph  signature  of  Force,  Wash- 
ington, 1848. 

Peter  Force,  born  in  1790  near  Paterson,  New  Jersey,  was  at  the 
age  of  twenty-one  president  of  the  New  York  Typographical  Society, 
a  notable  association  of  journeymen  printers,  many  of  whose  members 
achieved  fame.  One  became  chief  justice  of  Pennsylvania;  several 
became  Congressmen.  Mark  Twain  and  Horace  Greeley  and  Theo- 
dore L.  De  Vinne  were  members.  The  society  had  a  library  of  more 
than  5,000  books,  which  these  men  were  wont  to  use  (see  items  171 
and  172).  In  1816  Peter  Force  went  to  Washington  to  be  foreman 
of  a  new  printing  house  of  which  he  ultimately  became  proprietor. 
He  was  at  one  time  mayor  of  the  city,  and  in  that  capacity  welcomed 
the  members  of  the  first  convention  of  the  International  Typograph- 
ical Union.  His  greater  fame  rests  upon  his  study  and  collection  of 
Americana.  He  was  the  first  to  appreciate  the  value  and  interest 
attaching  to  the  earlier  books,  pamphlets,  prints  and  documents  re- 
lating to  the  early  history  of  our  country.  He  printed  and  published 
several  volumes  of  Annals  of  American  History,  which  will  always  be 
valuable  to  students  of  history.  At  his  death  his  collection  of  Ameri- 
cana was  purchased  by  the  Congress  for  $26,000.  The  collection  is 
now  one  of  the  great  assets  of  the  Congressional  Library. 

30 


225.  James  Fraser,  age  67:  Copperplate  engraving  by 
William  Poole,  1807;  Deghton,  del 

Fraser  was  a  master  bookbinder,  famous  in  his  day. 

226.  Edward  Winslow  (printer),  Governor  of  Plym- 
outh Colony. 

Winslow  was  a  young  journeyman  printer  in  Leyden  when  he 
joined  the  Pilgrims  who  came  over  in  the  Mayflower.  He  soon  took 
a  prominent  part  in  the  affairs  of  the  colony  and  succeeded  Bradford 
as  Governor,  holding  that  office  three  times.  The  leader  of  the  Pil- 
grims was  William  (Elder)  Brewster,  who  was  a  master  printer  in 
Leyden  when  the  pilgrimage  was  planned. 

227.  Samuel  Clemens  (Mark  Twain),  a  printer. 

228.  Joel  Chandler  Harris  (of  Brer  Rabbit  fame),  a 
printer. 

229.  Philip  Freneau,  a  distinguished  writer  and  poet 
of  the  Revolution,  who  operated  a  printing  estab- 
lishment in  Freehold,  New  Jersey. 

230.  John  Barber,  printer;  Lord  Mayor  of  London, 
master  of  the  Worshipful  Company  of  Stationers 
(the  printers'  guild) ;  copperplate  engraving.  See 
item  112. 

231.  John  Playford,  Printer;  copperplate  engraving  by 
D.  Loggan. 

232.  Daniel  Elzevir,  celebrated  printer  of  Amsterdam, 
born  in  1677;  a  lithograph.    See  item  57. 

233.  Desid  Erasmus  Roterod  natus  1467.  Den.  et 
sepult.  Basiliae,  1536;  copperplate  engraving  by 
Mechel. 

Erasmus,  accounted  the  most  progressive  scholar  of  his  time,  was 
employed  for  a  few  years  by  Froben  of  Basle  as  proofreader  and 
editor.     See  item   142. 

234.  Harper  Brothers:  Fletcher,  James,  Joseph  Wesley 
and  John :  group  of  four  copperplate  engravings. 

All  were  practical  printers.  James  and  John  worked  in  New 
York  as  apprentices  and  journeymen  until,  in  1816,  they  opened  a 
printing  office  of  their  own.  They  took  Fletcher  and  Joseph  in  as 
apprentices.  In  time  the  four  brothers  became  the  leading  publishers 
of  America,  with  a  great  printing  establishment. 

235.  The  First  Copperplate  Engraving  of  an  Art  Sub- 
ject: The  Broken  Vase,  engraved  by  C.  Warren 
in  London  in  1832. 

31 


The  art  of  steel  engraving  was  invented  in  1810  in  Newburyport, 
Massachusetts,  by  Jacob  Perkins  (see  his  portrait,  item  240).  Steel 
engraving  was  first  used  for  bank  notes,  bonds,  etc.  In  1832  it  was 
found  to  be  adaptable  for  art  subjects,  and  it  has  now  taken  the 
place  of  the  copperplate  in  engraving. 

236.  First  Paper  Mill  in  America:  Rittenhouse  Paper 
Mill,  near  Germantown,  Pennsylvania,  erected  in 
1690. 

237.  Hugh  Gaine,  printer  and  bookseller  in  New  York 
from  1750  to  1807;  engraving  by  F.  S.  King, 
1897,  for  the  Society  of  Iconophiles  of  New  York. 

Gaine  brought  his  printing  plant  to  Newark  at  the  outbreak  of 
the  Revolutionary  War  in  1776,  and  published  his  paper  in  Newark 
for  a  short  time.  He  was  unusually  successful  in  business.  He  is 
buried  in  Trinity  Churchyard,  New  York. 

238.  Amos  Doolittle,  one  of  the  earlier  engravers  of 
America;  engraving  by  F.  S.  King  in  1901  for  the 
Society  of  Iconophiles  of  New  York. 

239.  Eleven  Portraits  of  Thomas  Mackellar,  distin- 
guished printer  and  typefounder  of  Philadelphia, 
showing  him  as  he  appeared  in  various  years  from 
1845  to  1893. 

Mackellar  was  head  of  the  type  foundry  of  Mackellar,  Smiths 
and  Jordan,  which  was  in  its  day  the  largest  and  best  in  the  world. 
A  strong  friend  of  the  working  printer,  he  was  the  first  donor  of  a 
large  sum  in  aid  of  a  Printers'  Home.  He  was  the  author  of  "The 
American  Printer,"  in  its  time  the  best  text  book  of  printing. 

240.  Two  Portraits  of  Jacob  Perkins  of  Newburyport, 
Massachusetts,  inventor  in  1810  of  the  art  of 
steel  engraving.  He  established  a  banknote  print- 
ing house  in  Philadelphia  and  afterwards  went  to 
London,  where  he  made  a  great  fortune.  The 
house  he  established  in  London  is  still  one  of  the 
larger  producers  of  banknotes.  Born  in  1766,  he 
died  in  1849.  See  item  235  and  the  little  history 
in  this  frame. 

241.  First  Type  Foundry  in  the  American  Colonies: 
Stone  Building  in  rear  of  the  residence  of  Christo- 
pher Sower  11  (Sauer)  in  Germantown,  Pennsyl- 
vania; a  woodtut  engraving  by  Snyder. 

The  date  given  in  the  inscription  under  the  picture  (1765)  is 
inaccurate.     It  is  now  known  positively  that  type  was  first  cast  in 

32 


America  in  1770,  almost  simultaneously  in  Mexico  City  and  German- 
town.  The  Sower  family  are  still  in  the  publishing  business,  in 
Philadelphia.  Christopher  Sauer  I  began  to  print  in  Gerraantown 
in   1739. 

242.  James  Rivington,  printer  and  bookseller  (in  New 
York),  born  1724,  died  1802;  drawn  and  engraved 

^  by  F.  S.  King  in  1901  for  the  Society  of  Icono- 
philes  of  New  York. 

Rivington  is  known  as  the  "Tory  printer,"  having  sided  against 
the  Colonists  in  the  Revolution.  A  mob  wrecked  his  premises  by 
way  of  protest.     Rivington  street.  New  York,  was  named  after  him. 

243.  Joseph  Moxon,  printer  and  typefounder  of  Lon- 
don, born  in  1627;  copperplate  engraving  by 
F.  H.  von  Hove. 

Moxon  wrote  in  1693  the  first  text  book  of  printing  and  type 
founding.  It  is  a  wonderful  book,  now  quite  rare,  giving  such  an 
exact  and  carefully  illustrated  account  of  the  twin  arts  that  one  would 
have  no  difficulty  in  establishing  a  printing  house  and  type  foundry 
exactly  as  such  places  were  in  1639.  It  is  a  model  text  book.  He 
also  wrote  an  interesting  book  on  type  designing,  now  quite  rare. 

244.  Arnoldus  Mylius,  early  printer  of  Cologne;  cop- 
perplate engraving. 

245.  Jean  Petit,  a  printer  of  Paris,  of  exceptional  abil- 
ity; copperplate  engraving. 

246.  Isaiah  Thomas,  printer  of  Worcester,  Massachu- 
setts, the  "Baskerville  of  America":  Five  of  his 
portraits,  two  of  his  book  plates  and  an  autograph 
letter  in  a  frame. 

Thomas,  an  orphan,  was  apprenticed  to  a  Boston  printer  in  1749 
at  the  age  of  six  (6).  He  absconded  in  1767.  In  1770  he  returned 
to  Boston  and  in  time  issued  a  successful  newspaper.  When  Boston 
was  seized  by  the  British  in  1776,  Thomas  moved  one  press  and  600 
pounds  of  types  to  the  then  village  of  Worcester.  In  1805  he 
retired  from  active  business  in  favor  of  his  son  and  young  partners, 
having  amassed  a  great  fortune  for  those  times.  He  employed  his 
leisure  in  writing  his  two-volume  "History  of  Printing  in  America." 
which  every  sensible  printer  has  read.  He  also  established  the 
American  Antiquarian  Society,  presenting  it  with  a  building,  a 
library  of  5,000  books  and  about  $40,000  in  all.  He  employed  him- 
self as  secretary  of  the  society  and  collected  one  of  the  great  libraries 
of  the  world,   now   housed  in   a  magnificent   building  in   Worcester. 

247.  (In  the  corridor).  Benjamin  Franklin;  lithograph 
by  S.  W.  Chandler  and  Brother,  after  the  oil 
painting  by  Greuze,  now  at  the  Boston  Athenium. 

248.  William  Morris,  printer,  poet,  master  craftsman, 

33 


regenerator  in  1891  of  the  art  of  printing;  photo- 
gravure from  a  photograph  made  in  1892. 

Morris'  work  has  influenced  or  is  influencing  (generally  uncon- 
sciously) every  printer  who  is  putting  art  effort  in  his  work.  See 
items  69,  70,  71  for  examples  of  his  work  and  of  his  three  type 
designs. 

250.  William  Strahan,  printer  of  London,  closest  friend 
of  B.  Franklin,  founder  of  the  great  printing 
house  now  known  as  Eyre  &  Spottiswoode  and 
Ballantyne. 

Born  in  Edinburgh  in  1715,  he  commenced  business  in  London 
in  a  small  way  in  1739.  In  1743  he  opened  a  correspondence  with 
Franklin.  Later  on  he  asked  Franklin  to  come  to  London  and  become 
partner  with  him.  Strahan  was  highly  successful.  He  issued  Dr. 
Samuel  Johnson's  great  English  Dictionary  and  Gibbons'  "Decline 
and  Fall  of  the  Roman  Empire,"  besides  hundreds  of  other  impor- 
tant books,  the  while  executing  large  government  contracts  for 
printing. 

251.  John  Boy  dell,  engraver;  mezzotint  engraving  by 
Valentine  Green,  1772,  from  a  painting  by  Josiah 
Boydell. 

Boydell,  a  wealthy  craftsman,  was  partner  with  Bulmer  in  the 
Shakespeare  Press  in  London.  See  examples  of  this  press  in  items 
62  and  106. 

VI.— EXHIBITS  OF  SPECIAL  INTEREST  TO 
PRINTERS 

163.  Typographic  Memorial  to  the  Memory  of  William 
Caxton,  Wynken  de  Worde,  Richard  Pynson,  and 
their  successors,  respectfully  dedicated  to  the  pro- 
fession and  admirers  of  the  Art. 

A  series  of  arches  composed  of  types  and  brass  rules  containing 
upwards  of  60,000  movable  pieces  of  metal  and  more  than  150  differ- 
ent patterns  of  borders  and  ornaments;  London,  circa  1850. 

168.  Certificate  of  Membership  in  the  Franklin  Typo- 
graphical Association  of  New  York,  issued  to 
George  Bruce  in  1801,  the  year  in  which  it  was 
established. 

This  was  the  first  printers'  union  in  New  York.  The  three  men 
whose  names  are  signed  on  this  document  became  wealthy  master 
printers. 

170.  Certificate  ,of  Membership  in  the  Philadelphia 
Typographical  Society,  instituted  in   1802,  now 

34 


the  oldest  printers'  association  in  America;  de- 
signed and  engraved  on  copper  by  J.  Sartain. 

This  certificate  was  issued  to  Charles  S.  Brooks  in  1840;  an 
impressive  document. 

171.  Poster  Programme  of  a  Banquet  of  the  New  York 
Typographical  Society,  January  17,  1853;  printed 
by  George  F.  Nesbitt  &  Co.,  now  the  oldest  print- 
ing house  in  New  York,  on  Pearl  Street. 

The  banquet  was  in  honor  of  the  one  hundred  and  forty-seventh 
anniversary  of  B.  Franklin,  in  aid  of  the  funds  of  the  Printers'  Free 
Library,  which  was  in  use  for  many  years,  with  6,000  books.  It  was 
in  this  library  that  Theodore  L.  De  Vinne,  Mark  Twain,  Walt  Whit- 
man, Peter  Force  and  many  other  young  printers  spent  their  evenings 
in  those  studies  which  afterward  made  them  famous. 

171.  Poster  Programme  of  a  Banquet  of  the  New  York 
Typographical  Union,  January  17,  1851. 

174.  The  Largest  Newspaper  ever  Printed:  The  Uni- 
versal Yankee  Nation,  quadruple  edition,  Boston, 
1841. 

There  are  eight  pages,  each  type  page  48x36  in.  These  are  printed 
on  one  sheet  of  paper,  11  ft.  2  in.  long  by  4  ft.  6  in.  wide.  The 
pages  contain  matter  enough  to  fill  40  pages  of  the  Newark  Evening 
News.  There  is  on  the  first  page  a  view  of  the  printing  house 
occupied  by  The  Universal  Yankee  Nation. 

194.  Exhibit  Showing  How  Paper  is  Made. 

In  a  frame  are  shown  Spruce  Wood,  Spruce  Wood  Pulped, 
Ground  Wood  (dried).  Rosin  Sizing,  Alum  Clay,  Chips,  Sulphite  Pulp 
and  Coloring  Liquids,  and  Paper  as  it  comes  from  the  machine. 
(The  paper  has  returned  to  the  color  of  the  Spruce  through  exposure 
To  the  air).  Of  the  appliances  used  to  combine  these  materials  there 
are  shown  the  Wire  Screen,  Felt  and  Canvas  for  Drying  Rolls. 

There  are  pictures  of  a  papermaking  machine:  the  Foudrinier 
Part,  the  Press  Part,  the  Drying  Part,  and  a  view  of  the  interior  of 
a  paper  mill. 

195.  Colored  Views  of  Roller  Making  in  the  plant  of 
Bingham  Brothers  Company,  New  York. 

Samuel  Bingham  was  the  first  to  engage  in  roller  making  as  a 
business  in  America.  That  was  in  1849.  His  son,  Leander,  invented 
the  "Catling  Gun"  method  of  casting  rollers,  now  in  general  use  and 
illustrated  in  the  framed  pictures. 

201.  Stereotype  Matrix,  one  of  a  set  used  to  make  the 
plates  from  which  the  New  York  Tribune  was 
printed  on  August  31,  1861,  the  first  issue  of  a 
newspaper  to  be  printed  from  curved  plates  in 
America. 

35 


No  change  has  been  made  since  1861  in  stereotype  mats,  though 
the  method  of  producing  them  has  been  much  improved.  Stereo- 
typing was  first  used  for  newspapers  in  1856  on  the  London  Times. 
The  method  there  was  to  cast  each  column  separately.  It  was  an 
American  idea  to  curve  the  whole  page. 

202.  Five  Views  of  Papermaking  by  Hand  in  the 
XVII  Century. 

The  beaters  are  operated  by  turbine  water  wheels.  Hand-made 
paper  is  still  made  in  much  the  same  way. 

203.  Picture  Typography:  Flowers  in  a  Frame,  pro- 
duced by  the  use  of  map  types;  remarkably  able 
composition. 

204.  The  Union  Printers'  Home,  Colorado  Springs, 
Colorado.  Its  bounty  unpurchaseable;  its  charity 
without  price;  erected  and  maintained  by  the 
International  Typographical  Union;  color  print 
by  the  Stafford  Engraving  Company,  Indian- 
apolis. 

212.  Autograph  Letter  from  David  Hall  to  Benjamin 
Franklin,  his  partner,  with  a  Statement  of  Ac- 
counts between  them,  February  3,  1772. 

213.  Franklin's  Newspaper:  The  Pennsylvania  Gazette, 
No.  1718,  November  26,  1761. 

220.  Broadside  Specimen  of  Types  made  by  B.  Frank- 
lin in  his  Type  Foundry  in  Philadelphia. 

This  is  the  only  known  copy.  It  was  issued  in  1790,  the  year  of 
Franklin's  death,  by  his  grandson,  B.  F.  Bache.  Upon  the  premature 
death  of  Bache  the  foundry  was  sold  to  Binny  &  Ronaldson.  The 
American  Type  Founders  Company,  Jersey  City,  is  the  successor, 
through  Bache,  of  B.  Franklin,  typefounder. 

221.  Autograph  Letter  of  B.  Franklin,  engaging  a 
young  printer,  David  Hall,  who  afterwards 
became  his  partner. 

222.  Inventory  of  B.  Franklin's  Printing  House  in 
Philadelphia,  taken  in  1766  by  James  Parker,  a 
partner. 

James  Parker,  of  Woodbridge,  New  Jersey,  was  the  first  printer 
in  New  Jersey.  His  plant  was  in  Woodbridge,  near  Perth  Amboy. 
He  was  also  a  partner  of  Franklin's  in  the  third  printing  office  in 
New  York. 

36 


INFLUENCE  OF  THE  PRINTING  ART 

If  we  subtract  from  any  educated  person's  mental 
equipment  the  things  derived  directly  or  indirectly 
from  books  we  leave  that  person  (even  the  reader 
hereof)  a  savage;  for  everyone  of  us  is  born  as  ignorant 
as  any  savage,  equipped  only  with  animal  instincts. 
All  our  mental  and  spiritual  equipment  is  traceable  to 
the  printers'  art,  which  is,  in  fact,  labor-saving  writing, 
recording  and  preserving  and  standardizing  mankind's 
fund  of  knowledge.  Had  any  of  us  been  carried  away 
in  infancy  by  a  tribe  of  savages  he  would  have  grown 
up  with  the  mental  equipment  of  that  group  of  savages. 

It  may  be  a  startling  statement,  but  it  is  true  that 
the  printing  art,  directly  or  indirectly,  has  rescued  each 
one  of  us  from  savagery.  We  first  learn  from  our  par- 
ents, but  the  sources  of  what  they  teach  are  found  in 
books  and  nowhere  else.  Not  speech  or  art  or  music 
are  civilizers,  for  all  savage  races  have  speech,  art  and 
music.  Civilization  commenced  with  the  invention  of 
writing,  of  which,  as  we  have  said,  printing  is  a  labor- 
saving  development.  Not  until  after  the  art  of  writing 
was  well  developed  did  the  literary  art  arrive,  and  with 
it  authors.  Without  books  to  read  Shakespeare  would 
have  remained  an  obscure  man.  No  author's  works 
has  been  so  carefully  analyzed  as  those  of  Shakespeare. 
The  books  from  which  he  obtained  not  only  his  facts 
and  plots  but  the  names  of  most  of  his  characters  and 
many  of  his  thoughts  and  phrases  have  become,  some 
of  them,  famous  from  that  fact.  All  Shakespeare's 
knowledge  was  acquired,  chiefly  from  books.  To  his 
acquired  knowledge  he  added  an  incomparable  genius 
of  expression.  If  Shakespeare  is  in  the  final  analysis 
the  creature  of  books  why  need  we  advance  other  in- 
stances? 

The  whole  classic  literature  disappeared  between  the 
fifth  and  thirteenth  centuries,  and  as  there  was  no  sub- 
stitute for  it,  and  as  the  predecessors  of  the  printers 

37 


(the  scriveners,  who  made  books  with  pens  instead  of 
types)  had  little  employment,  civilization  fell.  No 
authors  of  even  fourth  rate  eminence  appeared  on  the 
scene.  When  the  book  makers  of  the  Greco-Roman 
civilization  were  deprived  of  employment  and  books 
became  scarce,  the  trade  of  authorship  ceased  also.  We 
cannot  have  cereal  crops  without  rain,  and  we  cannot 
have  mental  crops  without  printing.  Europe  became 
almost  totally  illiterate,  and  all  for  no  other  reason 
than  that  the  self-same  peoples  who  had  attained  an 
unexcelled  degree  of  civilization  by  means  of  books 
made  with  pens,  before  types  were  invented,  were  de- 
prived of  books.  A  book  famine,  and  not  the  inroads 
of  barbarians,  undermined  the  Greco-Roman  civiliza- 
tion and  plunged  Europe  into  ten  centuries  of  mental 
darkness. 

Modern  civilization  commenced  with  the  invention 
of  printing  and  the  reintroduction  of  books  in  the  fif- 
teenth century.  When  Printing  was  invented  the  world 
was  an  uncomfortable,  insanitary  place,  and  its  inhab- 
itants illiterate  and  living  in  dense  ignorance.  Science 
and  invention  and  the  fine  arts,  which  had  been  halted 
for  a  thousand  years,  had  a  new  birth  through  the 
work  of  the  printers. 

And  in  the  last  hundred  years  Printing  has  come  to 
the  aid  of  commerce.  The  small  things  printers  do, 
billheads,  tickets  and  the  like,  are  immensely  time- 
saving  and  labor-saving.  Printing  is  the  most  econom- 
ical and  effective  selling  agent.  Withdraw  the  adver- 
tisements from  the  newspapers  of  Newark  and  sales 
in  all  the  stores  would  fall  of  tremendously.  Stop  all 
printing  in  the  United  States  for  six  months  and  hun- 
dreds of  thousands  of  factory  workers  would  be  with- 
out employment.  Printing  is  premier  in  the  cabinet, 
of  King  Commerce.  There  is  a  mail-order  house  in 
Chicago  which  last  year  did  a  business  of  more  than 
one  hundred  and  fifty  million  dollars,  without  employ- 
ing a  single  salesman  and  without  show  rooms  or  sales 

38 


counters.  It  relies  on  its  great  printing  department, 
which  issues  catalogues  and  circulars.  Year  by  year 
it  expands  its  printing  department  and  just  as  surely 
its  business  expands. 

If  access  to  books  was  denied  to  the  inhabitants  of 
America  for  fifty  years  our  civilization  would  retro- 
grade rapidly  and  in  a  century's  time  another  era  of 
mental  darkness  would  impend. 

Such  is  the  art  which  in  this  exhibition  we  delight 
to  honor. 

H.  L.   B. 


Following  are  the  publications  of  the  Carteret  Book 

Club  of  Newark.    Three  only  of  the  Club  publications 

are  for  sale,  at  the  prices  stated  below.    The  books  are 

described  on  page  15  of  this  catalogue. 

The  Newark  Book:  200  copies  printed;  $25.00. 

Modern  Fine  Printing  in  England  and  Mr.  Bruce  Rogers, 
by  Alfred  W.  Pollard:  275  copies  were  printed;  |4.00. 

Rubaiyat  of  Omar  Khayyam:  200  copies  printed;  |3.00. 

Letters  of  Hawthorne,  2  vols,  (heretofore  unpublished) : 
100  copies  printed. 

Letters  of  Bulwer-Lytton  to  Macready  (heretofore  un- 
published) :  100  copies  printed. 

Criticism:  An  Essay,  by  Walt  Whitman  (heretofore  un- 
published) :  100  copies  printed. 

Charles  Dickens:  An  Appreciation,  by  Charles  Dudley 
Warner  (heretofore  unpublished):  100  copies  printed. 
Orders,  with  remittance,  to  be  sent  to  the  Secretary, 

John  Cotton  Dana,  Free  Public  Library,  Newark,  New 

Jersey. 


MARK  OF  THE  CARTERET  B(X>K  CLUB 
OF   NEWARK 

This  was  the  coat  of  arms  of  Sir 
Philip  Carteret,  first  proprietary  Gov- 
ernor of  New  Jersey.  He  arrived  in 
1665  on  the  site  of  the  city  of  Eliz- 
abeth, which  he  named  Elizabethtown 
in  honor  of  the  wife  of  his  brother, 
Sir  George  Carteret,  one  of  the  Lords 
Proprietors. 


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of  the  evolution  of  the 
art   of  the  'jook*.* 


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THE  UNIVERSITY  OF  CAUFORNIA  UBRARY 


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